This is an introduction to film / TV narrative and genre, including case studies (Working Girl, La Haine, the Mindy Project).
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Narrative
Definition of narrative = a chain of events linked by cause and effect, occurring in time and space
(Bordwell and Thompson, Film Art: 73)
Viewer is active in the formation of the narrative
Pick up on cues; recall prior information; anticipate things; generally participated in the creation of
the film’s form.
At the end of the film, their expectations created by the film are either satisfied or not.
Narration = “the plot’s way of distributing story information in order to achieve specific effects.
Narration is the moment-by-moment process that guides us in building the story out of the plot” (B +
T, p.87)
“We can … study narratives as a process, the activity of selecting, arranging, and rendering story
material to achieve specific timebound effects on a perceiver.”
Encourages the spectator to execute story-constructing activities (B & T: 33)
“The filmmakers’ creative choices have organised narration in order to give us a unified experience”
(B + T:97). No loose ends, nothing seems out of place. Every part contributes to the narrative.
Story VS Plot
The filmmakers build the plot from the story, and the viewers build the story from the plot (B + T: 75).
- Story: a series of events recorded in their chronological order. The idea / basis.
- Plot: series of events deliberately arranged / manipulated to reveal the dramatic, thematic
and emotional significance. A way of telling / presenting the story. It’s developed in order to
create a better story. Events of story may be told from the perspective of one or two
characters in order to manipulate the story particular emotional responses.
Plot developments = better story
The same story can be repeated with changes in the plot to create different stories. The plot is
usually created before the story.
Story development is about creating details and embellishments to make the plot engaging. For
example, revealing the backstory of a character to encourage the viewers to feel sympathy for them.
Shows their motivation.
The story is arranged to keep the audience interested.
Plot: the outline of the story. The story is what makes it interesting.
Diegesis: the total world of the story. Allows us to make sense of the film through inferred events.
,Depicted events and inferred events.
Inferred events:
- help keep the film short
- create suspense/surprise/fear
- cut out boring/irrelevant bits
- creates more audience engagement
Character
Have a set of traits (attitudes, skills etc) that distinguish them.
Films often encourage us to perceive binary opposites between characters, as conflict often arises
from them.
- For example, the hero is just and heroic, the villain is evil and mean. Be specific about how
this contrast gives rise to conflict.
- Opposite personalities, goals or themes.
- Can help us understand one character in relation to the other, contrasting character.
- Can be used to create the theme of the film.
- Binary opposites also show us how characters are individual and unique.
Structure
Narratives usually present a series of changes from an initial situation to a final situation. By
understanding how that pattern works, we can better understand the film (B + T).
Usually: setup development climax
Characters are linked to causes and effects within the film. They make things happen and react to
changes that occur. They drive the action.
Bordwell + Thompson say narration is usually:
- Restricted or unrestricted: who knows what when?
- Objective or subjective: how deeply do we know the characters’ perceptions, feeling and
thoughts?
On a spectrum
Working Girl & ‘traditional’ narrative structure
‘traditional’ because traditions / conventions change over time
The three-act structure is a popular approach in mainstream cinema
Between each act there’s an event (turning point) that takes the action in a different direction.
, Divides the narrative into beginning, middle and end, or setup, development and resolution. There
are usually turning points that divides the film and changes the direction of the action.
Turning points
Usually at 30-minute intervals throughout the film
Act one: the setup
Set up of the initial situation: shows character traits, goals and themes
Has to keep you entertained, prevent confusion, clarify path of characters
Theme is set up
Stakes are introduced: why the audience should care
Introduces binary opposites: men and women; working class secretaries and higher class executives.
Act two: the development
The protagonist pursues their goals, overcomes obstacles.
Narrative information is reaffirmed to make sure viewer is on the same page the filmmaker wants
them to be on (character’s goals, path etc)
Every scene moves the plot forward
Makes use of deadlines (as many films / shows do). Orientate your sense of time, provides a
timeframe. Creates a sense of imminence and urgency.
Climax
Act three: the resolution
Character arcs are completed (Tess learns to stand up for herself)
Confrontations take place
Goals are attained
Plotlines are resolved
Binary opposites are also resolved
Often encourages the viewer to make connections between the end and beginning of the film
Thematic parallels: seemingly insignificant scenes or shots are showed to be meaningful
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