CHAPTER FOUR Elements of Narrative

What Is Narrative? Narrative – a cinematic structure in which the filmmakers have selected and arranged events in a cause-and-effect sequence occurring over time Narrative movie – a fiction film, as opposed to other movies modes, such as documentary or experimental Narration – the act of telling the story The Narrator – who or what tells the story

The Primary Narrator In every movie, the camera is the primary narrator Its narration consists of the many visual elements it captures and arranges in every composition in every shot Other cinematic elements such as lighting, set design, makeup, performance and editing contribute to the narrative

Possible Narrators Types First-person – typically a voice-over but may address the audience directly Third-person – a voice imposed from outside the narrative Omniscient – has unrestricted access to all aspects of the narrative and characters, as well as information that no character knows Restricted – information limited to the knowledge of a single character

Black Swan (2010). Darren Aronofsky, director Black Swan (2010). Darren Aronofsky, director. Black Swan is told in the restricted narration of the increasingly unreliable perspective of Nina (Natalie Portman).

Basic Types of Characters Two essential elements of virtually every film narrative are a character pursuing a goal. Round characters – more lifelike, with complex personalities that may change as the story progresses Flat characters – few distinct traits and do not change significantly as the story progresses

Characters Protagonist – the primary character pursuing the goal Antagonist – The person(s), creature, or force responsible for obstructing the protagonist Anti-hero – an unsympathetic protagonist chasing a less than noble goal Imperfect characters in a narrative – have obstacles, character development, and character motivations

District 9 (2009). Neill Blomkamp, director District 9 (2009). Neill Blomkamp, director. In a science fiction thriller, progression and character change are essential to narrative developments.

Narrative Structure Most narratives structures can be broken down to: Beginning (Act I) – sets up the story and establishes the normal world Middle (Act II) – longest section that develops the story End (Act III) – resolves it

Figure 4.1: Narrative structure schematic

The Screenwriter Creates the movie’s story and writes the screenplay in its various stages either from scratch or by adapting another source Builds the narrative structure and devises characters, action, dialogue, and settings Adheres to a precisely prescribed format so that each page equals one minute of screen time

Diegetic and Nondiegetic Diegetic Elements- What we see and hear on the screen that come from inside the world of the story: characters, objects, settings, and sounds from the world of the story Nondiegetic- What we see and hear on the screen that come from outside the world of the story: titles, credits, music (not originating from the world of the story) and voice-over or third-person narratives

Narrative: Two Fundamental Elements Story – all of the explicit and implicit narrative events in the story and the diegesis, or total world in which the the story occurs Plot –the specific actions and events and the order in which the events are arranged to convey the narrative to the viewer, including the nondiegetic elements These two concepts overlap and intersect with one another in every movie.

Figure 4.2 Story and Plot

The Social Network (2010). David Fincher, director The Social Network (2010). David Fincher, director. The deliberate structure of selected events and nondiegetic elements like rhythmic music and titles comprise the plot that delivers the story of Mark Zuckerberg’s social networking epiphany.

Elements of Narrative: Plot Order and Events Plot order – a fundamental decision filmmakers make about how to relay story information Events – happen in a logical order and their relative significance to the story defines them as either major or minor (secondary)

Elements of Narrative: Duration Duration – the length of time it takes for things to occur (in life or in movies) Story duration – the length of time the implied story takes to occur Plot duration – the elapsed time of the events explicitly presented in the film take to occur Screen duration – the movie’s running time on the screen

Figure 4.3 Duration: Story versus Plot

Figure 4.4 Duration: Plot versus Screen

Timecode (2000). Mike Figgis, director Timecode (2000). Mike Figgis, director. Timecode is shot in real time but splits the screen into four quarters, each displaying a distinct but overlapping story with each quarter’s shot consisting of one continuous 93-minute take.

Elements of Narrative: Exposition Provides background information on the characters, setting, and basic conflict Ends with an inciting moment that sets the rest of the narrative in motion

Elements of Narrative: Suspense vs. Surprise Surprise – taken unaware, can be shocking. Our emotional response is generally short-lived and can only happen in the same way once. Suspense – anxiety brought on by partial uncertainty or even knowing what is going to happen. The means by which created is uncertain, and we want to warn and protect the empathetic characters.

Elements of Narrative: Repetition Repetition – the number of times a story element recurs in a narrative plot Familiar image – an audio or visual image that a director periodically repeats in a movie to stabilize its narrative By its repetition, the image calls attention to itself as a narrative element. may be symbolic

Elements of Narrative: Setting and Scope Setting – the time and place in which the story occurs Scope – the overall range, in time and place, of a movie’s story

Bladerunner (1982). Ridley Scott, director Bladerunner (1982). Ridley Scott, director. Bladerunner takes place in an imaginary world of 2019, where cities like Los Angeles are ruled by technology and saturated with visual information, making the setting an important part of understanding the narrative.

The Last Emperor (1987). Bernardo Bertolucci, director The Last Emperor (1987). Bernardo Bertolucci, director. The Last Emperor has the expansive scope of a historical epic, ranging from 1908 until 1967.

Looking at Narrative: John Ford’s Stagecoach (1939) Based upon the “ship of fools” convention Sharp psychological portraits of vivid characters Pointed social commentary

Stagecoach (1939). John Ford, director Stagecoach (1939). John Ford, director. Looking at Narrative: John Ford’s Stagecoach. Stagecoach, © 1939 Walter Wanger Productions.

Stagecoach: Narration and Narrator Ford relies on visual images and dialogue The camera is omniscient (has unrestricted access to all aspects of the narrative) and provides the narration

Stagecoach (1939). John Ford, director Stagecoach (1939). John Ford, director. The cavalry bugle signals that help is near and is a key auditory turning point in the movie, giving the stagecoach party hope. 30 30

Stagecoach: Characters Antagonist – Geronimo, but for Ringo, the Plummers Protagonist – Ringo Major (round) characters – Dallas, Ringo, Peacock, Gatewood, Dr. Boone, and Lucy are all multi-dimensional characters inside the stagecoach Minor (flat) characters – Hatfield, Peacock, and Gatewood, Buck Rickabaugh and Marshall Wilcox

Stagecoach: Narrative Structure Narrative – follows the familiar, three-act paradigm Act I – establishes the world of Tonto, and the characters reasons for going to Lordsburg, their common goal Act II – we see that what’s at stake, delay and danger, are introduced to the obstacles, and the characters’ actions Act III – Ringo’s crisis is resolved and several other story items are resolved

Stagecoach: Plot Covers the two-day trip from Tonto to Lordsburg Developed in a strictly chronological way Events follow each other coherently and logically Relations of cause-and-effect action are easy to discern

Stagecoach: Order Maintains strict chronological order The journey provides chronological and geographical markers Reveals a clear pattern of cause and effect

Stagecoach: Diegetic and Nondiegetic Elements Nondiegetic elements – opening and closing titles and credits; background music Important diegetic element – American folk music

Stagecoach: Events 12 major events Minor plot events add texture and complexity to characters and events Let’s look at the 12 major events in Stagecoach

Stagecoach (1939). John Ford, director. Major Events: 1 Stagecoach (1939). John Ford, director. Major Events: 1. The passengers’ decision to leave Tonto in spite of the cavalry’s warning about Geronimo and his troops .

Stagecoach (1939). John Ford, director. Major Events: 2 Stagecoach (1939). John Ford, director. Major Events: 2. Marshall Wilcox’s decision to let Ringo join the party.

Stagecoach (1939). John Ford, director. Major Events: 3 Stagecoach (1939). John Ford, director. Major Events: 3. The passengers’ vote to leave the Dry Fork station for Lordsburg, even though a relief unit of cavalry has not yet arrived.

Stagecoach (1939). John Ford, director. Major Events: 4. Dr Stagecoach (1939). John Ford, director. Major Events: 4. Dr. Boone’s willingness to sober up and deliver the baby.

Stagecoach (1939). John Ford, director. Major Events: 5 Stagecoach (1939). John Ford, director. Major Events: 5. Dallas’s decision at the Apache Wells station to accept Ringo’s proposal.

Stagecoach (1939). John Ford, director. Major Events: 6 Stagecoach (1939). John Ford, director. Major Events: 6. The group’s decision to delay departure from Apache Wells until Lucy has rested from childbirth and is ready to travel.

Stagecoach (1939). John Ford, director. Major Events: 7 Stagecoach (1939). John Ford, director. Major Events: 7. Ringo’s attempt to escape at Apache Wells.

Stagecoach (1939). John Ford, director. Major Events: 8 Stagecoach (1939). John Ford, director. Major Events: 8. The passengers’ decision at the burned-out ferry landing to try to reach Lordsburg, even though they realize that an Apache attack may be imminent.

Stagecoach (1939). John Ford, director. Major Events: 9 Stagecoach (1939). John Ford, director. Major Events: 9. As the Apaches attack.

Stagecoach (1939). John Ford, director. Major Events: 10 Stagecoach (1939). John Ford, director. Major Events: 10. Ringo’s willingness to risk his life to bring the coach under control.

Stagecoach (1939). John Ford, director. Major Events: 11 Stagecoach (1939). John Ford, director. Major Events: 11. The arrival of the cavalry soon after the Apache attack has begun.

Stagecoach (1939). John Ford, director. Major Events: 12 Stagecoach (1939). John Ford, director. Major Events: 12. The marshall’s decision to set Ringo free.

Stagecoach: Duration Story duration – what we know and what we infer from the total lives of all the characters Plot duration – the two-day trip from Tonto to Lordsburg Screen duration (running time): 96 minutes

Stagecoach: Repetition No story events recur in Stagecoach Repetition and transformation of character traits Repetition of familiar images (three-part editing pattern) about a dozen times 1. long shot of the stagecoach 2. two-shot of Curley and Buck on the driver’s seat 3. middle shot, or close-up, of the passengers inside

Stagecoach: Suspense Fear of an imminent Indian attack Will Lucy stop acting like a spoiled rich woman? Will Dr. Boone sober up in time to deliver her child? Will Dallas accept Ringo’s proposal?

Stagecoach: Settings Settings were constructed on Hollywood sound stages, and Ford used actual locations in Monument Valley, Arizona Interior and exteriors of the stagecoach The desert Tonto and Lordsburg Dry Fork Station

Stagecoach (1939). John Ford, director Stagecoach (1939). John Ford, director. Settings: The main street of Tonto, where the horses are being attached to the stagecoach.

Stagecoach (1939). John Ford, director Stagecoach (1939). John Ford, director. Settings: The stagecoach, with its cavalry escort, enters the first phase of its journey.

Stagecoach (1939). John Ford, director Stagecoach (1939). John Ford, director. Settings: The Apache attack on the stagecoach.

Stagecoach (1939). John Ford, director Stagecoach (1939). John Ford, director. Settings: The main street of Lordsburg, where residents watch the stagecoach arrive.

Stagecoach: Scope Broad overall range of time and place Presents a historical, social, and mythical vision of American civilization in the 1870s. Envelopes the social themes of Manifest Destiny

Review In every movie, the primary narrator is a. subjective. b. first-person. c. the camera. d. direct-address. ANS: c REF: What Is Narrative?, Ch. 4, p. 123

Review The narrative peak is called a. catharsis. b. crisis. c. climax. d. complication. ANS: b REF: What Is Narrative?, Ch. 4, p. 135

Review Which of the following includes events explicitly presented in a movie but does NOT include implicit events? a. Diegesis b. Scenario c. Plot d. Narrative ANS: c REF: Story and Plot, Ch. 4, p. 140

Review 2. Which of these consists of both explicitly presented and implicit events? a. Story b. Plot c. Narrative d. Diegesis ANS: a REF: Story and Plot, Ch. 4, p. 140

Review 3. Emphasizing importance or meaning can be achieved through the manipulation of a. story order. b. plot order. c. the film’s diegesis. d. narrative. ANS: b REF: Order, Ch. 4, p. 146

Review a. is the central figure, hero or anti-hero . The antagonist of a movie’s narrative a. is the central figure, hero or anti-hero . b. is responsible for obstructing the protagonist. c. is a virtuous individual. d. opposes the narrative . ANS: c REF: Story and Plot, Ch. 4, p. 133

Review 4. Manipulation of what formal element is primarily responsible for both stretch and summary relationships between durations?   a. Cinematography b. Characterization c. Lighting d. Editing ANS: d REF: Duration, Ch. 4, p. 150