I most definitely agree that non-linear narrative have deeply influence how subjects are presented and percieved in visual culture. In order to suppost this statement, I have chosen two films as examples; Memento written by Christopher Nolan and Jonathan Nolan, Christopher Nolan also being the director. (2000) and 500 Days Of Summer written by Scott Neustadter and Michael H. Weber, directed by Marc Webb, (2009).
Experimentation with non-linear structure in film dates back to the silent film era, including D. W. Griffith's Intolerance (1916) and Abel Gance's Napoléon (1927) [Debruge, Peter (December 7, 2007). "More scripts take nonlinear route". Variety. Retrieved on February 3, 2008.] Non-linear narrative is an interesting and an effective way of storytelling in filmaking. Re-arranging and deconstructing sequences affects the way the story progresses and also it's characters. Filmmakers who decide to introduce a non-linear narrative in their work, have the ability to adapt a films plot in order to produce a new beginning, middle and end. There are various techniques which are commonly used in a non-linear narrative to create states of confusion like, for example, the use of flashbacks, hallucinations, memory loss, amnesia, dream states, memories and the collision between fiction and reality. Fabula and syuzhet are also employed in narratology, they describe narrative construction. The fabula is "the raw material of a story, and syuzhet, the way a story is organized." 1 [Cobley, Paul. "Narratology." The Johns Hopkins Guide to Literary Theory and Criticism. 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, ...
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...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. It provides infinite possibilities with structures that can use various time and space for the director. It deeply engages the viewer and gives them the task to interpret the movie through their individual way of thinking which is both tricky and enjoyable. The audience is almost put in a time-travel machine as they go on a journey through the serious of captivating non-choronological events. Non-linear narratives are definitely a feature of postmodern filmmaking.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
The plot segmentation of Quentin Tarantino’s 1994 film, “Pulp Fiction,” reveals how the pieces in the nonlinear narrative structures are put together. In order for the audience to remind them when these events take place, the movie uses title cards to specify each segments’ main plot. Some of the characters would even reference events that have already occurred, such as when Mia, in the boxing match building, thanks Vincent for the dinner. The movie does not just allow the audience to really pay attention to how the story is being told, but also show how similar each of the main stories’ structures is, despite being in a nonlinear form. For example, all of them feature acts of “heroism” by resolving the issues when caught in very unexpected
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
Non-linear storytelling is the structure of a film in which time is presented. This means that the film can start at the beginning or the ending. The first film cited as an experiment of non-linear storytelling was Stanley Kubrick's The Killing (1956). The structure that Kubrick based the film was from Lionel White's novel Clean Break. As Kubrick's film was nearly meant to be a test, it wasn't until Quentin Tarantino whom with the release of Pulp Fiction (1994) raised the popularity of non-linear storytelling in the twentieth century (LoBrutto 2012). So non-linear storytelling is fairly ne...
It’s funny how all these years I never figured out that one of my favorite movies, Memento, just happens to be a film noir. The film centers on our protagonist, Leonard Shelby, who is in pursuit of his wife’s killer. What takes this film out of the norm and into a neo-noir setting is that Leonard is unable to make new memories. This is due to a condition called Anterograde Amnesia, which he got trying to save his wife. It all seems like pretty a nihilistic film, because you can’t see this ever possibly working out. Too bad Leonardo doesn’t see it that way. Instead he believes that he is doing things in a very precise manner, such as taking Polaroid pictures to keep track of the people he meets and the places he visits, and tattoos of the facts as a reminder to what his mission in life is. While watching it with my newfound knowledge I can definitely see how this film fits into the criteria. The connection to film noir is shown in a number of ways. For one, many of the characters in film noir cater to the idea that the protagonist suffers from an identity problem. Another connection is the story plot and use of low-key lighting, and finally the most important aspect of this movie that ties it to many of the classic noir movies watched in class is the idea that male protagonist is an unreliable narrator.
People can feel better about themselves after watching these types of movies. Using these elements together, it makes the movie better, but not only that, but each element helps each other out in the scene to make it a very good movie
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.
Choose at least one main topic or theme PER CRITIQUE that has been discussed in class lecture / the text that appear to be related...
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.
Postmodernism is a vague term that can describe a variety of disciplines that include, architecture, art, music, film, fashion, literature…etc. (Klages). In the case of “Videotape”, postmodern literature would be the main focus or area of study. This type of literature emerged in the era that succeeded World War II and relies heavily on the use of techniques such as, fragmentation, the creation of paradoxes, and questionable protagonists. Furthermore, postmodern literature also exudes ambiguity and critical thinking where the focus is mainly on the reader and his/her experience of the work rather than the content and form. Building upon that, the selected passag...
Despite the loss of “montage” as an aesthetic vision in contemporary films, we see how “montage” as an editing technique had in fact contributed greatly to filmmaking as we know it today. While the continuity style’s emphasis is on the narrative as well as clear, understandable space and time, the montage style focuses on creating impact with different images juxtaposing against one another. It is hence clear that the Soviet montage style has given filmmakers new ways to express certain ideas that might have previously been limited by the continuity style – giving filmmaking greater nuance and complexity as an art form with its own unique
...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.
Memento is a captivating and beautifully written movie that incorporates the subject of amnesia and short term memory loss. The audience is enabled to view Leonard’s world through pieces of information he has gathered on post it notes, polaroid shots he takes of people and places, and tattoos on his body. Although the movie grasps many of the concepts of anterograde amnesia, some parts have been exaggerated and are unrealistic.
A narrative film is a film that depicts a story through movement of pictures, sound, and words, it is audiovisual, and has two shapes. A narrative film can have a shape because it can interact with space and time; films mold space allowing the viewer to create perceptions about depth and can condense and speed up time. The two shapes that a film can are linear and circular. A linear narrative is a film in which the start, middle, and end transition smoothly and are unobstructed; the start runs into the middle and the middle leads to the end just like a fairytale has beginning, middle, and end. In contrast circular narratives are varied and can start anywhere in the film depicting flashbacks and transitio...