Narratology: the study of narrative forms.
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:
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:
These plots are generally linear: telling the story in sequence of time and ordered events or chronological time.
Important symbols 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. Here are a few sample clips of this type of film:
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 triadic 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.
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 still keeps the action on track, moving toward a specific destination—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.
Stories are divided into genres. Each genre has rules and expectations that help define its narrative elements: story, structure, character, plot, setting, etc.That is, the forms that "message senders" use to communicate with "message receivers."
In cinema, the problem with this triadic 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.
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 still keeps the action on track, moving toward a specific destination—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.
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:
A. Realistic: (qualities: objective, 3rd person POV)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.
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)
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)Other narrative techniques are:
- Crosscutting
- Montage
- Multiple perspective
These plots are generally linear: telling the story in sequence of time and ordered events or chronological time.
Important symbols 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. Here are a few sample clips of this type of film:
- Le Ballet Mecanique (1924)
- 2001, A Space Odyssey (1968)
- Eraserhead (1977) (review with clips)
- Destino (2003)
- The Fountain (2006)
- Synecdoche, New York (2008)
- The Fall (2008)
- Duck Soup (1933) (comedy)
- The 39 Steps (1935) (thriller-mystery)
- The Wizard of Oz (1939) (fantasy)
- Casablanca (1942) (film-noir/thriller-romance)
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