ABSTRACT
The main point is not to limit this idea to anything approaching the direct look back at the filmmaker/audience, as that can simply enlarge the imaginary world alluded to, but to not find the look at a11. The "look", whether "to" the viewer or "at" someone in the document or fiction, is a constituting basis for conventional realisms. Literalness must be produced without illusionist description. Thus, in the example of Yes No Maybe Maybe Not, the specificity of the structure is articulated through cinematic construction and not through (imagined or real) literary content. Thus not through diegesis, which would incorporate as content the veracity of filmic construction itself. The question of the content's veracity is thus a red herring, sidestepping the problematic and reintegrating, through the back door as it were, the omniscient narrator, or voice of
