【正文】 on is external when the narrator also functions as a focalizer, restricting the scope of narration “only to what can be outwardly observed”. The focalization is internal when a character serves as a focalizer, restricting the narration to “what a character knows, thinks, and feels.” (Genette, 1980:45) Genette further points out that, it is impossible to classify the kinds of focalization one by one pletely for the focalization in narrative works is usually overlapped or even mixed. And the critics can only use the relatively precise definition of every kind of focalization. In general, the “focalization” in modern works is more flexible than in traditional works, in which the story are often told from more than one perspective and by more than one narrator. The narration of Beloved is dominated by an omniscient narrator, it still allows mixed or multiple focalizations.Point of view in film is totally different from that in novel, it is decided by the position of the camera or shooting angle. Films can present the scenes in a panoramic way, the audience may rarely realize there is a medium(camera) inbetween, as if the story happened in a selfstatement way. RimonKenan named the narrative in film as “cameraeye”. The cameranarrator seems always stand on a objective and neutral side, looking at the story happened in one another scene and goes on and on. Closeup, mobile camera, high angle shot, low angle shot, shot and countershot……these shooting skills are always used in catching the proper image elements in all scenes. Sometimes focalizers can be some certain character, what he focalizes may bee the center of the whole scene focus. Thus, who will be allowed to focus and what is his point of view may be the basic system of point of view in the film.The camera must shoot from some position, if the shooting angle is from the point of view of some characters, it’s subjective shots。 if it just shooting the scene and without any eyesight from any characters, it is objective shots. Moreover, since the films have two physical tracksthe image track and the sound track, the film can show what is seen and what is heard simultaneously, so there is also an audio “point of view”. Therefore, this cameraeye narrative have three main kinds: subjective shots and objective shots and audio “point of view”. Zero focalization amp。 Objective shotsMany narrative works, traditionally considered as characterized by an omniscient point of view, are classified to zero focalization by modern narratologists. As Genette said, “the narration with zero focalization is one in which it is impossible to fix the perspective in terms of which the narrated characters, events and distinctions are being observed and presented.”(Genette, 1980:190) This traditional writing device can provide the readers with all the necessary information, all the events in the story. Since the focalization is not located on any characters, there is no bound with what is presented, the narrator can tell more than one character and don’t have to explain why he knows all the things to readers. We can see narration with zero focalization in Beloved here and there. For example: Hot, shy, now Denver was lonely. All that leaving: first her brothers, then her grandmotherserious losses since there were no children willing to circle her in a game or hang by their knees from her porch railing. None of that had mattered as long as her mother did not look away as she was doing now, making Denver long, downright long, for a sign of spite from the baby ghost.( Morrison, 1987:15)Since “Denver long”, the description shows that zero focalization exists, it must be narrated by an omniscient narrator. Otherwise how does somebody know she longs for the sign from the little ghost and her loneliness and fear, the protagonist can’t read other character’s mind and at the same time tell its content from other’s point of view. This zero focalization helps the readers know better about the character’s psychological activities.There are many examples in this novel. When Sethe reminded the days in the Clearing, after she came back to 124 from “Sweet Home”:Sethe had has twentyeight days the travel of one whole moonof unslaved life. From the pure clear stream of spit that the little girl dribbled into her face to her oily blood was twentyeight days. Days of healing, ease and realtalk. Days of pany: knowing the names of forty, fifty other Negroes, their views, habits。 where they had been and what done。 of feeling their fun and sorrow along with her own, which made it better……….Bit by bit, at 124 and in the clearing ,along with the others, she had claimed herself. Freeing yourself was one thing。 claiming ownership of that freed self was another. ( Morrison, 1987:111)This passage tells the readers what 28 days mean to Sethe, the parataxis describes what exactly Sethe learned in the short days and how did it influence her. And in another way tell us black people’s terrible condition and misery life, and their way of selfcure and selfliberation, the last sentence “Freeing yourself was one thing。 claiming ownership of that freed self was another.” means a lot to our protagonist Sethe. This judgment also es from nowhere but the omniscient narrators, the analysis helps we readers know more about Sethe’s characteristics. This passage with zero focalization here thus deepens the theme of the novel.As for the film, the scenes can’t be presented through one character’s eye, otherwise the audience may never know what the character looks like. Moreover, the information we obtained could be narrow and restricted, since it is always seen from one person or even more persons, it’s still way too subjective. Objective shots is inevitably indispensable in a film, with which can we taste the whole story more prehensively, they are much like the zero focalization in the novel. Objective shots make the story goes more neutral， such as the act when pa