The rudimentary form of narrative storytelling lends itself towards application to
an individual subject’s life story due to the correspondence of a narrative’s finite bounds
and the subject’s mortality. Vertigo (dir. Alfred Hitchcock, 1958), The Tenant (dir.
Roman Polanski, 1976), and Mulholland Drive (dir. David Lynch, 2001) are consistent
with this idea because their narratives follow an individual human subject from an
anecdotally significant beginning to their death. I will argue that the anthropomorphized
narrative compels the subject’s suicide through the misrecognition of personal identity.
This occurrence brings about the themes of narrative significance, subject motivation,
identity, recognition, and mortality.
The specificities of basic narrative method include the Aristotelian triumvirate
form—consisting of beginning, middle, and end—and a fundamental progression in
time. These requisites belie the potentially infinite scope of narrative and set a primitive
restriction to the most fundamental linguistic practice. Once the boundaries of narrative
have been recognized, a formal equation and basic concepts can be established in its
name. The semiotic codification of these concepts is so great, in fact, that many
narrative structures and concepts translate into multiple mediums. James Brooks
elaborates on this in Reading for the Plot.
Narrative in fact seems to hold a special place among literary forms—as
something more than a conventional “genre”—because of its potential for
summary and retransmission: the fact that we can still recognize the
“story” even when its medium has been considerably changed. (Brooks 4)
... middle of paper ...
...dentities constitutes a narrative detour, and necessitates the subjects’ suicides in
the three films.
Barthes, Roland. S/Z: An Essay. New York: Hill & Wang, 1974.
Blow-Up. Dir. Michelangelo Antonioni. Perf. David Hemmings, Vanessa Redgrave.
1966. DVD. Warner Home Video, 2004.
Brooks, Peter. Freud’s Master Plot. New York: Harvard University Press, 1984. pp 90-
Brooks, Peter. Reading for the Plot. New York: Harvard University Press, 1984. pp 3-36.
Freud, Sigmund. Beyond the Pleasure Principle. New York: W. W. Norton Company,
Inc., 1961. pp 1-78.
Mulholland Drive. Dir. David Lynch. Perf. Naomi Watts, Laura Harring. 2001. DVD.
The Tenant. Dir. Roman Polanski. Perf. Roman Polanski, Isabelle Adjani. 1976. DVD.
Vertigo. Dir. Alfred Hitchcock. Perf. James Stewart, Kim Novak. 1958. DVD. Universal,
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