Narrative_Structure - Narrative Structure l Traditional...

Info icon This preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
Image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
Image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: Narrative Structure l. Traditional Three—act structure 1) Act 1: Introduces characters, goals, conflicts, and ends with a turning point which causes a shift to Act 2. The main character (protagonist) modifies the methods to obtain their goals or changes goals altogether. Act 2: Involves conflict. The protagonist meets obstacles, possibly caused by an antagonist. These obstacles increase in number and complexity leading to the major turning point, referred to as the climax. Act 3: Presents the denonernent, a series of events that resolve the conflicts that have arisen (not always happily). When the concluding events (the conclusion) tie up loose ends, leaving no unanswered questions, the film provides closure. I. F our Act Structure A. Film Scholar, Kristin Thompson argues that both classical and contemporary Hollywood films exhibit a four-part structure. 1. The parts (roughly equal in length) are separated by turning points linked to character goals. 2. In the Introduction the initial. turning point, followed by a complicating action. This leads to a central turning point, at the Midway point. - After the Midpoint, the character clearly struggles to attain goals that leads to a climax, followed by the resolution and. the epilogue (a section or speech at the end of a play that leads to the conclusion. and sometimes makes a comment on the work). .433” 5. The main difference is that the Four Act Structure locates a turning point Midway “the dead center” of the film (roughly approxirn ately 60 minuets into the film). B. Second Point ll. Supporting Point: UCLA Professor Howard Suber’s research confirms this analysis. He observed a centripetal movement toward this midway point. At this point something occurs for the protagonist that creates a centrifugal movement or movement directed outward from the center that leads to a climax. It can be subtle as in the film, Ordinary People where a meeting with a psychologist creates a turning point that allows the antagonist to begin to break through some of his issues. ll. Conclusion: Narrative Form A narrative is usually a series of events that occurs in space and time that focus on human characters, their struggles and the obstacles they encounter to attain their goals. The'narrative is framed through both Diegetic and non Diegetic Elements. The Diegesis is the implied world of the story. The non—Diegetic elements are elements such as back story that the audience is aware of but the actors are not (Rosebud in Citizen Kane). Russian Literary theorists created two terms to describe the transformation of a complete, chronological story (the fabula) into an abbreviated, reoganized version of events (the synzhet). The faubla may include the backstory (a character’s formulative experience before the beginning of the synchet. Taken From: Maria Pramaggiore and Tom Wallis’s text, Film: A Critical Introduction, 2nd ed, (2608). Pearson. Howard Saber: UCLA Lecture. 5. The main difference is that the Four Act Structure locates a turning point Midway “the dead center” of the film (roughly approximately 60 minuets into the film). B. Second Point 1. Supporting Point: UCLA Professor Howard Suber’s research confirms this analysis. He observed a centripetal movement toward this midway point. At this point something occurs for the protagonist that creates a centrifugal movement or movement directed outward floor the center that leads to a climax. it can be subtle as in the film, Ordinary People where a meeting with a psychologist creates a turning point that allows the antagonist to begin to break through some of his issues. 11. Conclusion: Narrative Form A narrative is usually a series of events that occurs in space and time that focus on human characters, their struggles and the obstacles they encounter to attain their goals. ' The narrative is framed through both Diegetic and non Diegetic Elements. - The Diegesis is the implied world of the story. The non—Diegetic elements are elements such as back story that the audience is aware of but the actors are not (Rosebud in Citizen Kane). Russian Literary theorists created two terms to describe the transformation of a complete, chronological story (the fabula) into an abbreviated, reoganized version of events (the synzhet). The faubia may include the backstory (a character’s formulative experience before the beginning of the synchet. Taken From: Maria Pramaggiore and Tom Wallis’s text, Film: A Critical Introduction, 2nd ed, (2008). Pearson. Howard Sober: UCLA Lecture. ...
View Full Document

{[ snackBarMessage ]}

What students are saying

  • Left Quote Icon

    As a current student on this bumpy collegiate pathway, I stumbled upon Course Hero, where I can find study resources for nearly all my courses, get online help from tutors 24/7, and even share my old projects, papers, and lecture notes with other students.

    Student Picture

    Kiran Temple University Fox School of Business ‘17, Course Hero Intern

  • Left Quote Icon

    I cannot even describe how much Course Hero helped me this summer. It’s truly become something I can always rely on and help me. In the end, I was not only able to survive summer classes, but I was able to thrive thanks to Course Hero.

    Student Picture

    Dana University of Pennsylvania ‘17, Course Hero Intern

  • Left Quote Icon

    The ability to access any university’s resources through Course Hero proved invaluable in my case. I was behind on Tulane coursework and actually used UCLA’s materials to help me move forward and get everything together on time.

    Student Picture

    Jill Tulane University ‘16, Course Hero Intern