Abstract:As Harold Pinter's adaptation (1990) of Ian McEwan's The Comfort of Strangers (1981) reveals, extras are the strangers of the big screen. Pinter's revision of the source text introduces the antagonist, Robert, as an extra before formally presenting him as a character in the plot. As a filmic device, the extra interprets Robert's role as the foreign stranger who inflicts unexpected violence and alters the temporality of the tale's narrative trajectory. His early anonymity is the screenplay's cinematographic ren… Show more
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