1. 2004.09.13 - SLIDE 1IS246 - FALL 2004 Lecture 04: Formalist Media Theory IS246 Multimedia Information Prof. Marc Davis UC Berkeley SIMS Monday and Wednesday 2:00 pm – 3:30 pm Fall 2004 http://www.sims.berkeley.edu/academics/courses/is246/f04/

2. 2004.09.13 - SLIDE 2IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

3. 2004.09.13 - SLIDE 3IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

4. 2004.09.13 - SLIDE 4IS246 - FALL 2004 Sign, Signified, Signifier –The linguistic sign is the unity of the signifier (a sound-image) and the signified (a concept) Linguistic Sign Concept Sound-Image

5. 2004.09.13 - SLIDE 5IS246 - FALL 2004 Linguistic Signs and Language The sign is arbitrary A multiplicity of signs is necessary to form any language The system of signs in language is over- complex Language exhibits a collective inertia toward innovation

6. 2004.09.13 - SLIDE 6IS246 - FALL 2004 Linguistic Values Values are composed of –A dissimilar thing that can be exchanged for the thing of which the value is to be determined –Similar things that can be compared with the thing of which the value is to be determined Signified Signifier Signified Signifier Signified Signifier

7. 2004.09.13 - SLIDE 7IS246 - FALL 2004 Differences “Everything that has been said up to this point boils down to this: in language there are only differences. Even more important: a difference generally implies positive terms between which the difference is set up; but in language there are only differences without positive terms.” (p. 120). “In reality the idea evokes not a form but a whole latent system that makes possible the oppositions necessary for the formation of the sign. By itself the sign would have no signification.” (p. 130).

8. 2004.09.13 - SLIDE 8IS246 - FALL 2004 Syntagmatic and Associative Relations Associative (Paradigmatic) Axis Syntagmatic Axis A C’’ C’ BCDE C’’’

9. 2004.09.13 - SLIDE 9IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

10. 2004.09.13 - SLIDE 10IS246 - FALL 2004 Why Study Formalist Film Theory? To provide a theoretical foundation for understanding the forms and functions of time-based media Unlike “Film Studies” per se, we use that understanding not to interpret films, but to analyze and design multimedia information systems –Video capture –Video analysis –Video retrieval –Video assembly –Video reuse –Video summarization (e.g., meeting recording) –User interfaces to audio-visual content and that use audio-visual content

11. 2004.09.13 - SLIDE 11IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

12. 2004.09.13 - SLIDE 12IS246 - FALL 2004 A

13. 2004.09.13 - SLIDE 13IS246 - FALL 2004 AB

14. 2004.09.13 - SLIDE 14IS246 - FALL 2004 ABA

15. 2004.09.13 - SLIDE 15IS246 - FALL 2004 ABAC

16. 2004.09.13 - SLIDE 16IS246 - FALL 2004 ABACA

17. 2004.09.13 - SLIDE 17IS246 - FALL 2004 Expectations Suspense –Delay in fulfilling an established expectation Surprise –Result of an expectation that is revealed to be incorrect Curiosity –Construct hypotheses about prior events

18. 2004.09.13 - SLIDE 18IS246 - FALL 2004 Perceiving Artistic Form Form –“The overall system of relations that we can perceive among the elements in the whole film” In perceiving form, the spectator draws on –Cues within the work –Prior experiences Derived from everyday life From other artworks –Conventions and norms

19. 2004.09.13 - SLIDE 19IS246 - FALL 2004 Principles of Film Form Function –What is this element doing there? –How does it cue us to respond? –Motivation (justification for the presence of an element) Similarity and repetition –Motif (any significant repeated element in a film) –Parallelism (cues to compare two or more distinct elements by highlighting some similarity) Difference and variation Development –Progression moving from beginning to middle to end Unity/Disunity

20. 2004.09.13 - SLIDE 20IS246 - FALL 2004 Viewer’s Activity “The constant interplay between similarity and difference, repetition and variation, leads the viewer to an active developing awareness of the film’s formal system.” (p. 56)

21. 2004.09.13 - SLIDE 21IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

22. 2004.09.13 - SLIDE 22IS246 - FALL 2004 Narrative Form Narrative –A chain of events in cause-effect relationship occurring in time and space Story and Plot –Story Set of all events in a narrative, both the ones explicitly represented and those the viewer infers –Plot Everything visibly and audibly present in the film All the story events that are directly depicted

23. 2004.09.13 - SLIDE 23IS246 - FALL 2004 Story and Plot Story Plot Presumed and inferred events Explicitly presented events Added nondiegetic material

24. 2004.09.13 - SLIDE 24IS246 - FALL 2004 Teeth Brushing Example Brushing Teeth –Protagonist stands in front of bathroom mirror –Protagonist opens medicine cabinet to remove toothbrush and toothpaste tube –Protagonist squeezes out toothpaste on toothbrush –Protagonist brushes teeth –Protagonist drinks water from glass –Protagonist spits out water and toothpaste residue

25. 2004.09.13 - SLIDE 25IS246 - FALL 2004 Time Temporal order –Flashback –Flashforward Temporal duration –Story duration –Plot duration –Screen duration Temporal frequency –Repetition of events

26. 2004.09.13 - SLIDE 26IS246 - FALL 2004 Temporal Duration Story Duration –Example: Brushing teeth in story world (5 minutes) Plot Duration –Example: Brushing teeth in plot world (1 minute: 6 steps of ~10 seconds each) Screen Duration –Example: Brushing teeth (12 seconds: 3 shots of ~4 seconds each)

27. 2004.09.13 - SLIDE 27IS246 - FALL 2004 Space Story space Plot space Screen space and offscreen space

28. 2004.09.13 - SLIDE 28IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

29. 2004.09.13 - SLIDE 29IS246 - FALL 2004 Narration Plot’s way of distributing story information in order to achieve specific effects Moment-by-moment process that guides us in building the story out of the plot Involves range and depth of story information

30. 2004.09.13 - SLIDE 30IS246 - FALL 2004 Range of Story Information Spectrum of knowledge of the story world that viewers and characters have –Unrestricted (omniscient) narration –Restricted narration Creates “hierarchy of knowledge” among viewer and characters “Who knows what when?”

31. 2004.09.13 - SLIDE 31IS246 - FALL 2004 Depth of Story Information How “deeply” the plot plunges into a character’s psychological states Continuum between objectivity and subjectivity Subjectivity –Perceptual subjectivity (hear and see what character perceives) Point-of-view shot Sound perspective –Mental subjectivity (hear and see what character thinks) Internal voices Internal images “How deeply do I know the character’s perceptions, feelings, and thoughts?” Range and depth of knowledge are independent variables

32. 2004.09.13 - SLIDE 32IS246 - FALL 2004 “Classical Hollywood Cinema” Action primarily arises from individual characters as causal agents The process of achieving goals desired by one or more characters drives the narrative’s development The protagonists’ goals come into conflict with other characters’ goals (antagonists) to create conflict

33. 2004.09.13 - SLIDE 33IS246 - FALL 2004 “Classical Hollywood Cinema” The cause-effect chain drives narrative events Plot time tends to depend on the story’s cause- effect chain –“Dead time” is rarely shown –Appointments bring characters together at a specific time and usually place –Deadlines makes plot duration dependent on the cause-effect chain Narration tends to be “objective” and unrestricted Narrative usually has strong closure at the end (cause-effect chain ends with final effect)

34. 2004.09.13 - SLIDE 34IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

35. 2004.09.13 - SLIDE 35IS246 - FALL 2004 Discussion Questions (Bordwell ) Megan Finn on Bordwell –What experiences influence the creation of norms? When does a form become a convention? When it comes into the popular consciousness or when the art world discovers it? How can our understandings of norms influence real life?

36. 2004.09.13 - SLIDE 36IS246 - FALL 2004 Discussion Questions (Bordwell ) Megan Finn on Bordwell –If we were to build an “if you like, then try...” film recommender system, what would be worth capturing in the metadata regarding form and narrative? People will generally say that they like a certain genre of film, are people also attracted to certain genres? Can a form cross genres?

37. 2004.09.13 - SLIDE 37IS246 - FALL 2004 Discussion Questions (Bordwell ) Cecelia On Kim on Bordwell –How is the composition of the shot and of an edited space and time treated by various writers as a language? What justifications are given for the comparison of montage to language? What are the component parts of this language and how are they organized “semantically” and “syntactically”? How this language will translate to the audience?

38. 2004.09.13 - SLIDE 38IS246 - FALL 2004 Discussion Questions (Bordwell ) Cecelia On Kim on Bordwell –Eisenstein writes, "The conventional descriptive form for film leads to the formal possibility of a kind of filmic reasoning. While the conventional film directs the emotions, this suggests an opportunity to encourage and direct the whole thought process as well." What does Eisenstein mean about creating an "intellectual montage"? How does this idea relate to the concerns of Constructivism?

39. 2004.09.13 - SLIDE 39IS246 - FALL 2004 Discussion Questions (Bordwell ) Vijay Viswanathan on Bordwell –Bordwell talks about “form” as a complete structure, but this seems to be such a vague definition or at least a misleading concept that suggests a film’s form is static. If the film’s form is a system of dynamically related parts, if we remove one of these parts, does the film now not have structure or is it now not a complete system? e.g., watching a film without sound, or a color film in black and white. What about new forms of multimedia that we haven’t been “trained” to know what the form should be, such as viewing a flash movie online? Where does the idea of “complete” form come from?

40. 2004.09.13 - SLIDE 40IS246 - FALL 2004 Discussion Questions (Bordwell ) Vijay Viswanathan on Bordwell –The text also uses an example of being frustrated by “interruptions,” e.g., listening to music and having it stop or an uncompleted story. But if the form of a film is a system of segments and related parts, in absorbing multimedia, do our minds need interruptions – can we truly absorb streams of information without breaks or interruptions? Think of the difficulty of watching hours of silent film, or a film that’s one continuous take such as The Russian Ark. When are certain interruptions (such as fade outs or even sound) necessary versus detracting from the form of a film?

41. 2004.09.13 - SLIDE 41IS246 - FALL 2004 Today’s Agenda Review of Last Time –Semiotics Formalist Media Theory –Film Form –Narrative Form –Narration Discussion Questions Action Items for Next Time

42. 2004.09.13 - SLIDE 42IS246 - FALL 2004 Readings for Next Time Wednesday 09/15 (Mise-en-scene and Cinematography) –Textbook David Bordwell and Kristin Thompson: Film Art: An Introduction. McGraw Hill, New York, 2003. Pages: 175-184 & 207-293. Jeff, Brooke, Nick Did you all get SIMS computer accounts?