In this essay through textual analysis I will be describing how the representation of time and space can either facilitate or hinder the clear presentation of a cause and effect narrative structure.
Firstly, I would like to discuss the representation of time and space in the Tony Scott’s film True Romance (USA, 1993) written by Quentin Tarantino. The story of the film has a linear narrative structure. The events are presented in temporal order which facilitate the clear presentation of the cause and effect of the narrative structure. The film has a voiceover at the beginning and at the end. Immediately the audience is self conscientious that the story is told through a flashback. This facilitates the understanding of the story because ‘... A flashback is simply a portion of a story that the plot presents out of chronological order.’ (Bordwell, David & Thompson, Kristin 'Narrative as a Formal System: Time,' in Film Art: An Introduction 7th ed., 2009 New York: McGraw, pp. 84–86.)
Looking at the range of narration of this film, apparently, it seems that the audience knows and sees only what the character in the film discovers and experiences (restricted narration). The viewer can even come across unrestricted narration, which means that the audience knows more than any character in the film. But the range of the film narration in True Romance moves between unrestricted and restricted as it progresses. It affects the viewer and also it hinders or facilitates the delivery of the cause and effect narrative structure.
The plot is about a comic book seller called Clarence Worley (Christian Slater). His boss decides that Clarence needs to have fun on his birthday, therefore he pays for him a prostitute, Alabama Whitman (Patricia ...
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...Therefore it may facilitates or hinders the clear presentation of cause and effect of the narrative structure.
Works Cited
Bordwell, David & Thompson, Kristin 'Narrative as a Formal System: Time,' in Film Art: An Introduction 7th ed.,2009 New York: McGraw, pp. 84–86.
Bordwell, David & Thompson, Kristin 'Narrative as a Formal System: Time,' in Film Art: An Introduction 7th ed.,2009 New York: McGraw, pp. 78–79
Bordwell, David & Thompson, Kristin 'Narrative as a Formal System: Time,' in Film Art: An Introduction 7th ed.,2009, New York: McGraw, pp. 84–85.
Bordwell, David & Thompson, Kristin 'Narrative as a Formal System: Time,' in Film Art: An Introduction 7th ed., 2009, New York: McGraw, pp. 90–91.
Bordwell, David & Thompson, Kristin 'Narrative as a Formal System: Time,' in Film Art: An Introduction 7th ed., 2009, New York: McGraw, pp. 87–88.
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
Chatman, Seymour, "Existents." Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell UP, 1978. 107-126, 131-145.
Phillips, Gene D. Conrad and Cinema: The Art of Adaptation. New York: Peter Lang Publishing, Inc., 1995.
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
Marnie 1964 is narratively complex. Overall, the audience has a greater range of knowledge any of the characters. This is called unrestricted or omniscient (“all knowing”) narration. This enables the audience to ‘…anticipate events the character cannot…’, hence creating suspense. Bordwell & Thompson, 2004, p.87-88.
McGlothlin, Erin. "No Time like the Present: Narrative and Time in Art Spiegelman's "Maus"." Narrative 11.2 (2003): 177-198. JSTOR . Web. 20 Mar. 2011.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
According to historians like Neil Burch, the primitive period of the film industry, at the turn of the 20th century was making films that appealed to their audiences due to the simple story. A non-fiction narrative, single shots a burgeoning sense
The change from differing mediums, novel and film, reveal characteristics and possibilities of narratives. Through the advancement of technology, modern writers
A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the central character more time on screen, the film helps the audience to not only understand the character’s motivation but also empathize with his/her emotional state. Additionally, some antagonistic force creates conflict with the main character, preventing immediate success(). Finally, after confronting the antagonist, the main character achieves his or her goal along with growing emotionally(). This proven structure creates a linear and relatively easily followed series of events encompassing the leading character and a goal.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.
...verything around us is made by our actions. Positive or negative they cause an effect that will ultimately lead to a different story base on how we interpret life. Narrative elements are used as a bridge by the directors in their film to create any master plot that is currently known. Any modification at any narrative element used by the director at important moments inside the story can help you portray a different master plot. This used of narrative elements can be best described as an ever changing process that takes place inside an individual’s head. Depending on the individual that may be exposed to those narrative elements can create different meanings. This new interpretation can be different for everyone. We have to be aware that one change in the surface scenery can lead to many ideal outcomes in our minds and that is the main power the audience has.