Subjective Knowledge of a character according to themselves. The framework of conventional narrative is constructed that such scenes are detatched from the narrative - although this is very different in The Wizard of Oz and many other children's films. We can follow a character without knowing much about them - this is true of Slacker and of True Stories . Objective Knowledge of a character according to depiction by the camera . This can be as intimate as a subjective portrayal, and carry more narrative-oriented information.
Objective depth can become a good device for suspense.
If a character is cool and calm, we may not be treated to much knowledge. Withholding knowledge, as described above in restricted range , can provide anticipated feelings in the viewer. Usage of information does not have to be linear. For example, in a narrative told in retrospect, we may have a large range of information at the beginning, slimming down to a more character-oriented, specific range and depth as the story is told and explained. The classical narrative theory of Meir Sternberg clearly demonstrates how fictional narratives involve themselves in a communicative relationship with the viewer.