Chapter 3 Narrative as a Formal System 2010

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Chapter 3 Narrative as a Formal System © 2010 Mc. Graw-Hill Higher Education. All

Chapter 3 Narrative as a Formal System © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 1

Principles of Narrative Construction �Narrative form tells a story. �While common in fiction films,

Principles of Narrative Construction �Narrative form tells a story. �While common in fiction films, it can be employed in other types of films. �Narrative construction relies on the viewer to pick up cues, anticipate action and recall information. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 2

What is Narrative? �A chain of events in cause-effect relationship occurring in time and

What is Narrative? �A chain of events in cause-effect relationship occurring in time and space. �Narratives may also make use of parallelism. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 3

Plot and Story �Story: all the events in a narrative, both explicitly presented and

Plot and Story �Story: all the events in a narrative, both explicitly presented and inferred. �Diegesis are elements that are assumed to exist in the film world. �Plot includes non-diegetic elements and everything visibly and audibly presented, but not what is presumed or inferred. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 4

Cause and Effect �Usually triggered by characters, but could be events or circumstance. �Viewers

Cause and Effect �Usually triggered by characters, but could be events or circumstance. �Viewers look for causal motivation and this can create mystery, suspense or other reactions. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 5

Time �Time shapes our understanding of narrative. �Temporal order refers to the order of

Time �Time shapes our understanding of narrative. �Temporal order refers to the order of story events. �Story time is constructed on the basis of what the plot presents, even though that might not be in chronological order. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 6

Time �Story duration is the period of time referred to in the film. �Plot

Time �Story duration is the period of time referred to in the film. �Plot duration includes the stretches of time depicted in the film. �Screen duration is the length of the film. �Temporal frequency is the number of times an element is presented. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 7

Space �Story space is where the story takes place �Screen space is the visible

Space �Story space is where the story takes place �Screen space is the visible space within the frame. �Space selects certain parts of plot space and can ask the viewer to infer or imagine space. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 8

Openings and Patterns of Development �Exposition: the part of the plot that lays out

Openings and Patterns of Development �Exposition: the part of the plot that lays out important story events and character traits in the opening. �Patterns of Development: Can be motivated by time and space or by the characters, such as in a change in knowledge. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 9

Climax and Ending �Climaxes resolve causal issues by bringing the development to a high

Climax and Ending �Climaxes resolve causal issues by bringing the development to a high point, often involving tension or suspense. �Some films are anti-climactic and the endings remain relatively open. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 10

Story Range �Range refers to how much information the viewer is given. �Restricted: when

Story Range �Range refers to how much information the viewer is given. �Restricted: when viewer’s knowledge is restricted to that of a main character. �Unrestricted: When viewers know more and hear more than any of the characters know. �It is a continuum. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 11

Story Depth �Depth refers to how deeply the plot plunges the viewer into the

Story Depth �Depth refers to how deeply the plot plunges the viewer into the character’s psychological states. �This is also a continuum that can vary between objective and subjective points of view. �The filmmaker’s choice about range and depth affects the viewer’s response to the film. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 12

Narrator �A character (within the story or not) who purports to be telling the

Narrator �A character (within the story or not) who purports to be telling the viewer the story. �Can be objective or subjective, internal or external to the story. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 13

Narration in The Road Warrior �Max is the center of the plot’s causal chain

Narration in The Road Warrior �Max is the center of the plot’s causal chain and the viewer is restricted to Max’s range of knowledge. �This is emphasized by use of point of view shots and mental subjectivity. �Moments of unrestricted narration build suspense and create surprise. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 14

Classical Hollywood Cinema �Historically, in fiction filmmaking the action comes from individual characters as

Classical Hollywood Cinema �Historically, in fiction filmmaking the action comes from individual characters as causal agents. �Time is typically subordinate to cause and effect. �Often Hollywood narrative is objective and involves closure. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 15

Narrative Form in Citizen Kane �Uses conventions of the newspaper, detective and biography genres.

Narrative Form in Citizen Kane �Uses conventions of the newspaper, detective and biography genres. �The film focuses on psychological states and relationships. �It both adheres to and departs from Classical Hollywood Cinema norms and rules. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 16

Plot and Story in Citizen Kane �Scenes can be broken down into a segmentation

Plot and Story in Citizen Kane �Scenes can be broken down into a segmentation that allows for analysis of the major divisions of the plot as well as causality and story time. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 17

Causality in Citizen Kane �Two sets of characters cause events to happen: the reporters

Causality in Citizen Kane �Two sets of characters cause events to happen: the reporters and the people who knew Kane. �Kane’s death creates a connection between them. �Thompson’s goal drives the plot. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 18

Time in Citizen Kane �The order of plot events engages the viewer because if

Time in Citizen Kane �The order of plot events engages the viewer because if its complexity. �Earlier parts of the plot show the results of events viewers haven’t seen. �Later parts confirm and modify expectations viewers formed earlier. �The newsreel parallels the plot structure of the film. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 19

Motivation in Citizen Kane �The narrative revolves around an investigation into traits of a

Motivation in Citizen Kane �The narrative revolves around an investigation into traits of a character, motivated first by the search for Rosebud. �Some motivations are left ambiguous. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 20

Parallelism in Citizen Kane �Kane’s search for happiness vs. Thompson’s search for Rosebud. �Kane’s

Parallelism in Citizen Kane �Kane’s search for happiness vs. Thompson’s search for Rosebud. �Kane’s campaign for governor vs. Susan’s opera career. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 21

Patterns of Plot Development in Citizen Kane �The flashbacks provide a clear progression and

Patterns of Plot Development in Citizen Kane �The flashbacks provide a clear progression and each offers a distinct type of information about Kane. �The plot remains relatively open in the end: neither Kane nor Thompson reach their goal. �Is Rosebud a resolution? © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 22

Narration in Citizen Kane �We are really only offered recollections of Kane through 5

Narration in Citizen Kane �We are really only offered recollections of Kane through 5 narrators, keeping us restricted in our knowledge. �Thompson is the conduit for the information. He is neutral and barely characterized. �The narrative is omniscient overall. © 2010 Mc. Graw-Hill Higher Education. All rights reserved. 23

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