narrative+structure

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Read about dramatic structure below.

Note. Narrative structure does not only apply to film studies. It is used in science, geography, more

Do you want to be a journalist? Do you need to write essays? All human communication often has the attractions of narrative structure imbedded within. We are all captivated by story. http://www.notrain-nogain.org/train/Res/write/sbnar.asp home to 3.2 =the cause -effect relationship=
 * =DRAMATIC STRUCTURE=

= The Classical Hollywood narrative structure is the most common and dominant narrative structure. The cause-effect relationship is facilitated by a motivated, goal orientated character creating change by overcoming the obstacles standing between them and the attainment of their goal. =

======characters are the central part of story. Characters are complex elements. They are made up of various desires, emotions, psychological profiles,attitudes,beliefs and experiences.====== **====== The central character is the protagonist. He/she acts in a certain way; the other characters are then influences by these actions and react to them accordingly. ======**


 * **Clint Eastwood is a living legend from Hollywood. Once an actor he has directed several films. His latest was on at more than one cinema in Christchurch this February, 2010.** //Invictus// **is the story of Nelson Mandela working to give spirit to his new country, South Africa when he became President after 27 year of imprisonment in 1985**

** Morgan Freeman plays Nelson Mandella**

** character + + = ** ** There are as many ways of telling a feature story as there are filmmakers. **

=Some structures work again and again. One structure is a three- act play=

= a character in a plot, a catalyst or inciting incident(conflict) and a resolution ( or dénouement ) = **[]** **[]** || American Beauty: Lester quits his job Lester Burnham in American Beauty is feeling trapped, compromised and disempowered at work,in his private life and in his personal sense of self. During the film story Lester breaks free.

How does character motivation influence the structure of a narrative? e.g In American Beauty, are character's interior stories as significant to plot as actual action in realtime?

In Panahi's film Crimson circle, ( See 13FPS site ) character motivation in completed in the opening scene, then we get the back story. Look for narrative structure as a decision made with respect for the uniquness of each story. e.g What is the structure of THE ROAD? Why is the tale told this way?

THE ROAD a post apocolyptic tale ( the novel is available in the school library ) ( See clip below ) =Narrative structure: character=

Activity

**select a film and discuss features of a character at two or three stages of activity in the story.** **What does the character feel? What does the character think? How does the character express feelings and ideas? What relationships is the character in?**


 * =[[image:filmmiddleschool/motivation.jpg caption="motivation.jpg"]]Identify what motivates the protagonist.=**
 * motivates the protagonist to act the way they do( there may be one of two things)?**

**Do they want to achieve a long-held dream or an immediate desire?** **Do they need to do something extremely important?** **Do they need to act urgently?** **Is there motivation due to self-interest or are they motivated to help others?** **Identify the protagonist's goal**
 * =Factor 1, 2, 3,=**
 * Consider the following questions in relation to each motivating factor for your protagonist:**


 * = Editing Narrative Structure =**
 * Four examples for time **


 * ** Devices used include editing **cuts **or** fades**, or a brief sequence of several frames shot in** sepia **showing the immigrants’ arrival in New York by ship, in an otherwise coloured film, is likely to be a** flashback.
 * ** “hard editing” ( **straight cut**) within a single scene**
 * This suits full psychological dramatic realism. Here there is no softening by,eg the dissolved shot. **

** Here are three guidelines: ** ** Film comprehension depends on three general assumptions: ** ** 1. // The goal assumption // ; the viewer watches a film and intends to concentrate on the actions taken up by fictitious characters in order to construct a story = comprehension ** ** 2. // The coherence assumption // ; the viewer aims at constructing a coherent and consistent semantic representation both at local and overall levels. = we should speak of an extent or a degree of a film comprehension ( it will differ in each viewer) ** ** 3. // The explanation assumption // ; the viewer tries to explain the situation, events and actions presented in a film, their interrelations and justification = Complexity. **

** Complexity of mental representation of a film stems primarily from an elliptic character of a film story-telling, which means that some pieces of information are skipped or concealed, while others are manifested in such an excessive way that the viewer perceives the events in form of // gestalts(1) //, namely, complex entities whose features cannot be reduced to the properties of their elements. The simplest strategy of film comprehension is the // strategy of causal logic //. **

** 4. With complexity, readers of film texts are free to make interpretations. These will stem from: socio-economic observations, character patterns or traits, e.g of guilt or self image ; from sense of e.g self serving, family profile, or recognition of doubt, chance, ambiguity etc. ** ** See Polanski films: **//Chinatown, Repulsion, The Pianist//


 * See Web site to learn about film narrative as it was set in the early American film period.: []**
 * {Early silent cinema:**

media type="youtube" key="GQS0fRIuFeA" height="385" width="480" || See Panahi's film, Crimson Gold .Cause and effect is elaborated strongly in this fim.
 * “soft editing” which was used for linking scenes and sequences, and as such served as a punctuation mark.
 * Fade-out/fade-in, which is used in this particular case, signals a far more distant leap in time-space}

See //The Ice Storm//, by Ang Lee. It is an indictment on self centered adult suburban upper American middle class - “swingers” of the 1970’s where there is consequent “fallout” for sensitive children.

 __THE ICE STORM__ media type="youtube" key="7YT_Aty9Jl8" height="385" width="480" ||  ||

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