Narratology: the study of narrative forms. Narratologists (people who study narrative structure) are interested in the rhetoric of storytelling. That is, the forms that "message senders" use to communicate with "message receivers."
In cinema, the problem with this communications model is determining who the sender is because while the implied author is the filmmaker, multiple authorship of scripts is common, especially in the United States. Should we credit the director, writer, editor, actor, or cinematographer as the author whose vision controls the project? Or perhaps we should credit the viewer who is responsible for following the film story?
Narration also differs according to a movie’s style. In classical films, boring gaps in the narrative are edited out by a discrete storyteller, who keeps a low profile, yet maintains to keep the action on track, moving toward a specific ending—the resolution of the story’s central conflict.
The story can be defined as the general subject matter, the raw materials of a dramatic action in chronological order.
In the classical narrative paradigm, the established conflict builds to its maximum tension in the climax. Films are often written in 3-Acts, each with a beginning, middle, and end of an established or introduced conflict.
Also, stories are divided into genres. Each genre has rules and expectations that help define its narrative elements: story, structure, character, plot, setting, etc.
Good writers are able to push the boundaries of what a story can allow within its chosen genre. When watching a movie, or reading a script or novel, you should be aware of the genre rules and assumptions you are likely to be presented with. In the romance genre, for example, we must assume that people fall in love almost immediately (and that this love is real, as opposed to just a physical attraction). That's part of the genre. When we criticize a movie, we should first check our understanding of what the writer and director were attempting to present to us.
HOMEWORK: Please read the script Citizen Kane and take notes on narrative techniques in the script/film.
In cinema, the problem with this communications model is determining who the sender is because while the implied author is the filmmaker, multiple authorship of scripts is common, especially in the United States. Should we credit the director, writer, editor, actor, or cinematographer as the author whose vision controls the project? Or perhaps we should credit the viewer who is responsible for following the film story?
Narration also differs according to a movie’s style. In classical films, boring gaps in the narrative are edited out by a discrete storyteller, who keeps a low profile, yet maintains to keep the action on track, moving toward a specific ending—the resolution of the story’s central conflict.
The story can be defined as the general subject matter, the raw materials of a dramatic action in chronological order.
In the classical narrative paradigm, the established conflict builds to its maximum tension in the climax. Films are often written in 3-Acts, each with a beginning, middle, and end of an established or introduced conflict.
Also, stories are divided into genres. Each genre has rules and expectations that help define its narrative elements: story, structure, character, plot, setting, etc.
For example, in a science fiction film, we assume that spaceflight is easily possible, or that alien life is probable. These are tropes of the genre. Absurd situations are expected in comedies, but not usually appreciated in dramas. A genre sets forth the rules of what is possible in a film (or novel or short story as well).In film there are three super genres (broad genres that encompass the whole): they are STYLES of film:
When narratives fail to act according to convention or what we have come to expect from tradition or from the genre, we, as viewers have to figure out what is meant from the deviation of the structure and style of the genre.A. Realistic: (qualities: objective, 3rd person POV)
B. Classical: (qualities: objective/subjective, 3rd person, often limited 3rd person)
C. Formalistic: (qualities: subjective, 1st person or unreliable narrator)
Good writers are able to push the boundaries of what a story can allow within its chosen genre. When watching a movie, or reading a script or novel, you should be aware of the genre rules and assumptions you are likely to be presented with. In the romance genre, for example, we must assume that people fall in love almost immediately (and that this love is real, as opposed to just a physical attraction). That's part of the genre. When we criticize a movie, we should first check our understanding of what the writer and director were attempting to present to us.
Some classical and formalistic narrative techniques we recognize:
1. The flashback
2. The dream sequence
3. The distorted view (as if the subject or character is drunk, insane, troubled, drugged, etc.) Commonly uses an oblique angle or birds eye angle or view to disorient its viewers.
4. Voice overs (this indicates we have a subjective narrator)
As you watch and read the script for Citizen Kane, please look for examples of these narrative techniques. You will be asked to write about your findings after reading the physical script and watching the film in class. These observations and the secondary sources provided to you will then be used to write a review of the film.5. The use of intertitles reminds us that we are watching a story--like reading a book. While outdated today, some films still use this technique to great effect, as in Star Wars (1977, George Lucas) or Inglorious Basterds (2009, Quentin Tarantino)Other narrative techniques are:
Classical style narrative plots generally follow the typical 3-act structure. They rise through a series of events (rising action) to a definitive climax, and usually resolve in some definitive way at the end of the film.
- Crosscutting
- Montage
- Multiple perspective
These plots are generally linear: telling the story in sequence of time and ordered events or chronological time.
Important symbols, motifs, or metaphors are usually explained; solutions are offered. These classical films, more than formalistic or realistic films, are directed to a general [genre specific] audience.
Most films fall into this category, but at the far end of the spectrum are the avant garde films that use formalistic narration. Formalistic films rely heavily on metaphor, implied meaning, subjective POV, and surprising special visual effects.
HOMEWORK: Please read the script Citizen Kane and take notes on narrative techniques in the script/film.
