Een samenvatting van het vak 'Visuele Narratologie en Adaptatie' dat gegeven wordt binnen de masteropleiding 'Filmstudies en Visuele Cultuur'. Op basis van deze samenvatting heb ik ook mijn examenpaper opgesteld, waarvoor ik mooi bekritiseerd werd.
,Inhoudsopgave
1. INTRODUCTIELES .................................................................................................................................... 1
1.1. NARRATIVE AND LIFE.................................................................................................................................... 1
1.2. DEFINING NARRATIVE................................................................................................................................... 1
2. STORY STUFF .......................................................................................................................................... 3
2.1. WHAT IS A STORY? ...................................................................................................................................... 3
2.2. EVENT-STRUCTURE CONCEPTS ....................................................................................................................... 4
2.3. CHARACTERS .............................................................................................................................................. 7
2.4. MENTAL CAUSATION .................................................................................................................................... 8
2.5. DRAMATIC UNITS ...................................................................................................................................... 10
2.6. STORY STRUCTURES ................................................................................................................................... 11
3. NARRATION AND NARRATIVE VOICES ................................................................................................... 12
3.1. WHAT IS NARRATION? ............................................................................................................................... 12
3.2. NARRATIVE VOICES .................................................................................................................................... 14
3.3. UNRELIABLE NARRATION ............................................................................................................................ 17
4. NARRATIVE PERSPECTIVE ...................................................................................................................... 20
4.1. NARRATIVE PERSPECTIVE ............................................................................................................................ 20
4.2. COGNITIEF PERSPECTIEF ............................................................................................................................. 21
4.3. PERCEPTUAL PERSPECTIVE ........................................................................................................................... 22
4.4. CASE-STUDY: THE (SLASHER) HORROR FILM .................................................................................................. 26
5. FOCALISATIE EN NARRATIE IN COMICS EN GRAPHIC NOVELS ................................................................. 27
6. NARRATIVE TIME .................................................................................................................................. 28
6.1. HOW DO WE CONCEPTUALIZE TIME? ............................................................................................................. 28
6.2. HOW TO MANIPULATE STORY TIME IN DISCOURSE OR PLOT TIME ......................................................................... 29
6.3. HOW TEMPORAL ORDER INFLUENCES THE AFFECTIVE AND COGNITIVE PROCESSING OF A STORY .................................. 32
6.4. TIME-CREATION IN FILMIC SPACE .................................................................................................................. 32
6.5. THE LIBERATION OF TIME IN EUROPEAN MODERNIST CINEMA ............................................................................. 33
7. CINEMATIC SPACE ................................................................................................................................. 34
7.1. THE SCREEN SPACE ................................................................................................................................... 34
7.2. FORCES WITHIN THE SCREEN........................................................................................................................ 36
7.3. INTERPLAY OF SCREEN FORCES ..................................................................................................................... 38
7.4. COMPLEX MIRROR SHOTS .......................................................................................................................... 40
8. MOTION ............................................................................................................................................... 41
8.1. PRIMARY MOTION .................................................................................................................................... 41
8.2. SECONDARY MOTION ................................................................................................................................. 42
8.3. TERTIARY MOTION..................................................................................................................................... 44
8.4. HOW MOTION SHAPES STORIES: THE CASE OF HUMAN RELATIONSHIPS ................................................................. 47
9. LIGHT.................................................................................................................................................... 48
9.1. THE LIGHT SOURCE .................................................................................................................................... 48
9.2. THE DARK SIDE (SHADOWS)......................................................................................................................... 48
9.3. THE LIGHT SIDE ......................................................................................................................................... 49
9.4. RELATIONSHIP BETWEEN LIGHT AND DARK ...................................................................................................... 49
9.5. CONTROLLING LIGHT AND SHADOWS (LIGHTING) ............................................................................................. 50
9.6. DYNAMIC PATTERNS OF LIGHTING ................................................................................................................. 51
10. COLOR .............................................................................................................................................. 52
, 10.1. COLOR ATTRIBUTES.................................................................................................................................... 52
10.2. COLORS AND FEELINGS ............................................................................................................................... 53
10.3. COLOR ENERGY ......................................................................................................................................... 53
10.4. TRACKING COLOR IN CINEMA ....................................................................................................................... 54
10.5. TRACKING COLOR MOVEMENTS .................................................................................................................... 54
11. TAKING SCREENSHOTS ...................................................................................................................... 55
12. GELUID ............................................................................................................................................. 56
12.1. BASIC ELEMENTS (FUNDAMENTALS) OF SOUND ............................................................................................... 56
12.2. THE AUDIOVISUAL SCENE ............................................................................................................................ 58
12.3. STRUCTURAL DIMENSIONS OF SOUND............................................................................................................ 60
12.4. TEMPORAL RELATIONS OF SOUND IN CINEMA .................................................................................................. 61
12.5. TWO TYPES OF CONGRUENCE ...................................................................................................................... 62
13. ADAPTATIE ........................................................................................................................................ 63
13.1. A SHORT HISTORY OF ADAPTATION STUDIES..................................................................................................... 63
13.2. DEFINITION ............................................................................................................................................. 63
13.3. THE VALUE OF FIDELITY IN ADAPTATION .......................................................................................................... 64
, 1. Introduc+eles
1.1. Narra've and life
De narra'eve mode of thinking is een persoonlijkere en verhalende manier om naar de wereld te
kijken
è Tegenovergestelde is de paradigma'sche mode of thinking
Door gebruik te maken van narra9eve construc9es kunnen we structuur aanbrengen op een abstract
begrip zoals 9jd.
Achter sta9sche beelden beginnen we al snel een verhalende structuur aan te brengen, we gaan op
zoek naar een bepaalde causaliteit.
Vanaf er dynamiek of beweging is, wordt het narra9eve in ons getriggerd.
Ook al herkennen we geen verhaal, toch gaan we zoeken naar een verhaal.
è Dit kan door onze narra9eve templates
1.2. Defining narra've
Defini'e 1: Narra9ve is an event or a series of events
è Een beschrijving is geen narra9ef, er moet sprake zijn van een causaliteit of een verloop van
events
Voor velen is deze defini9e te kort door de bocht, daarom moet een tweede defini9e opgesteld
worden
Defini'e 2: Er moeten links of verbanden zijn tussen de gebeurtenissen, er moet sprake zijn van
causaliteit in 9jd en ruimte.
“A man tosses and turns, unable to sleep. A mirror breaks. A telephone
rings.”
è Dat is geen narra9ef, volgende wel
“A man has a fight with his boss; he tosses and turns that night, unable to
sleep. In the morning, he is still so angry that he smashes the mirror while
shaving. Then his telephone rings; his boss has called to apologize.”
De verbanden moeten een betekenis dragen, er hoeG niet persé sprake zijn van causaliteit.
è Er blijkt nood aan een derde defini9e
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