By employing the ideas associated with narrative form I n their films, directors are able to put forth their creative vision without confusing or offending the audience with a story that is difficult to digest. Viewers are often accustomed to seeing a certain type of film, which has a particular and distinguishable style. Although this form can be broken down into basic components and “acts,” filmmakers often choose to integrate these fundamental aspects in innovative ways. Peter Weir and Andrew Niccol, the director and screenplay writer of The Truman Show, intertwine the basic narrative form with more experimental ideas. He creates the concept of a television show within a film and employs flashbacks and less straightforward timelines in order to advance the basic principles of the three-act structure.
Mise-en-scéne elements of setting, brilliant cinematography, and profound editing techniques institute the film’s prevailing narrative form and motifs. Many film directors manipulate the concept of fantasy versus reality, but instead of providing a mundane exposition, fantasy becomes the new reality in Inception.
The climax can be shown first, rather than at the end of the film. The film can be told in a backwards manner in order to see where the story has first started from. Plots can now be customized by the filmmaker in anyway which they wish to depict a story. Most Hollywood big budget films stick to the classical three act structure, where as the independent film makers might shy away from the conventional way of film making "This nonlinear narrative structure defies the conventional rules of plot construction and breaks apart the standard notion that a film's scenes must advance in chronological order from opening to climax. Nonlinear film deconstructs a character, complic... ... middle of paper ... ...ines equally.
Auteur theory states the director can manipulate a film into their own creative vision. Godard broke many common film-making rules in the production of Breathless. His use of jump-cuts and camera zooms create Godard’s own style of film-making. Godard strives for discontinuity instead of the common continuity all prior film-makers hoped to produce. Breathless is a confusing and disorienting film, but its beauty is in the narrative.
The juxtaposition of still frames edited together to make a moving picture that tells a story. There are many counterparts that a makes up a film. You have the storyline, plot, characters, mise-en-scene cinematography and editing. Based on these counterparts and how they are orchestrated to portray a story, gives insight in which the audience follows along with the story and whether each counterparts contribute in a significant way to a plot to make the film a whole. How does editing contribute to the narration to a film?
Flashbacks had been used in earlier films, but Orson Welles used this technique most effectively in his film Citizen Kane. Because of this he also changed the way story could be told. It changed the tradition way of telling a story from beginning, middle, and end. Now films can be told from any starting point and moving freely throughout the story. This new way of storytelling has been used in many films because it changed the old way of telling story it made it more exciting and curious to wonder what something you saw in a future flash back could mean it just gave the story more mystery.
Things like this can make seemingly harmless thriller movie like “Tesis” into a serious statement about how sick and twisted our society. These symbols and objects do not just have to represent a certain meaning they can also represent emotions that the director wants the audience to feel. Techniques involving colors and object placement can make people uneasy, excited or any other emotion that the director wants in order to make the film a better experience for the viewer. Directors often take advantage of this and make it very abundant in their work. I’m going to be analyzing these techniques in the films; “El laberinto de fauno,” “Tesis” and “Te doy mis ojos.” Alejandro Amenabar used a lot of these symbols and objects to represent hidden meanings throughout his thriller piece about snuff films.
Hawke and Branagh both reproduced Hamlet with a setting and mood that were both appealing for an audience. For instance, Hawke created a film much unlike Shakespeare’s play with a modern day setting. At the start of the film, the mood was set using modern visuals and melodies. Then a soliloquy of Hamlet was seen stating his troubling inner emotions. These scenes created a mood of youth and despair which eventually would become very effective in the plot of the film and the development of Hamlet’s character.
Through the analysis of characteristics present within The Graduate this paper will express how it encompasses not only attributes from classical Hollywood cinema but also those of the Art film. These types of cinema have distinct and obvious styles and patterns that evoke different purposeful reactions independently, for instance the classical film tends to allow its viewer to understand completely what is happening throughout the film; this is archived by forming a logical plot, and applying repetition. In contrast the Art film takes on a very different style, which includes, non-closure, and episodic construction. The Graduate seemingly encompasses characteristics form each of these styles, through its use of an easy to follow plot; and because it has a final conclusion, it follows the stylistic characteristics of the classical film. However, extended shots of Ben floating, running and driving and the repetition of The Sound of Silence by Simon and Garfunkel suggests stylistic themes of Art film as well.
According to Stephen Prince in Movies and Meaning: an Introduction to Film, Screen Reality is a concept that pertains to the principles of time, space, character behavior and audiovisual design that filmmakers systematically organize in a given film to create an ordered world on-screen in which characters may act and in which a narrative may unfold. (262) One mode of cinematic screen reality is self-reflexivity. While the other three modes of screen reality seek to sway the audience into accepting the authenticity of the world and the story that are on screen, the self-reflexive style deliberately attempts to tear down the illusion of the cinema. In doing so, it reinforces the awareness that film is socially and culturally constructed and that at its core, film is art, not reality. There are two purposes in using self reflexive techniques, either for comedy or with the hope of addressing a social or cultural issue.