Baltimore: Johns Hopkins University Press, Web.] Hence, the fabula is the chronological way that the story happened whereas, the syuzhet is the way it was unraveled in the film, ... ... middle of paper ... ...ilm plots, however, putting film sequences out of order makes the film much more interesting and unforgettable. The audience have to think much more and try to figure out the story of the film. They have to endure some confusion and be unclear or certain things during the duration of the film. Non-linear narrative is an unconventional way of storytelling in film and now a contemporary style of filmmaking.
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.
The entire narrative is described by a character within the story space: Marlowe tells us the entire story. Our view of the plot, then, is clouded by Marlowe's sight. Being a character within the story space, he has his own feelings and his own reactions to what happens to and around him, and he passes those reactions&emdash;albeit unconsciously&emdash;to the reader, who, also unconsciously, picks up on them. Marlowe does not act the role of mediator, though, in the film version of The Big Sleep.
It makes the audience feel as though as they are part of the main character themselves, try to figure out the pieces just as much as the character himself. Nolan use of non-linear narrative in film also fits in his film, Inception. The film itself deals with nature of dreams ... ... middle of paper ... ...still best because it provides the filmmaker the most range, captures the most depth of image and works best as a tool to tell a story. Nolan said that moving to digital creates a risk of “devaluing what we do as filmmakers”('Dark Knight Rises'). Nolan also quotes that “The problem with the push to digital is it has been given a consumer aspect,” He suggest that it confuses the camera with an Ipad.
The biggest difference I noticed is the general narrative style of the films. In Amélie, there is an omniscient narrator when the film started. The narrator told us a lot of things about Amélie straight away. He talked about her family, her habits and so on. The narrator here helped to depict the image of Amélie.
George Bluestone’s Novels into Film The first chapter of George Bluestone’s book Novels into Film starts to point out the basic differences that exist between the written word and the visual picture. It is in the chapter "Limits of the Novel and Limits of the Film," that Bluestone attempts to theorize on the things that shape the movie/film from a work of literature. Film and literature appear to share so much, but in the process of changing a work into film, he states important changes are unavoidable. It is the reasoning behind these changes that Bluestone directs his focus, which is the basis behind the change. He starts to look at the nature of film and literature, as a crucial part in the breakdown of this problem.
The Truman Show, directed by Peter Weir, is a film. Starring Jim Carrey as the titular character, Truman Burbank, this film is a modern example of the use of traditional narrative form. The nature of the film’s plot allows for the introduction of a conversation on the ideas of reality, representation, and our wired society. Despite its status as a rather innovative and experimental film in terms of its content, The Truman Show still follows the traditional three-act narrative structure found in most traditional films. 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.
The Muir Woods scene also serves to emphasize the restricted depth of information provided by the film, which builds up to the moment of surprise later in the film. Alfred Hitchcock uses a combination of elements of film style to illustrate these ideas and convey the patterns of narration throughout the film.
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.