1. Realism in Classical American Film
Hollywood Narrative

2. Table of Contents 1 Realistic Narrative 2 Non-realistic Narrative
3 Purer Form of Realist Narrative

3. Narrative
Narrative - structured or constructed story which tells fictional or non-fictional events.
Narration – an act of narrating, telling a narrative
Narrator - the one who tells a narrative (generally by voice-over in the case of cinema)
Narratology - study on narrative, narration and narrator.

4. Realistic Narrative
The most important component of Classical American Films is ‘narrative’ (story).
The bottom line - their narratives are constructed in such a way that they give the viewer an impression that he/she is watching something plausible and probable - that is, ‘real’ - render ‘reality’ and ‘truth’ effects in story.

5. Realistic Narrative
The classical Hollywood film created reality and truth effects by concealing artistry.
→ Narrative and narration, too, like various filming techniques, must be 'invisible' and unobtrusive so that most viewers barely notice its narrative technique and artificiality.

6. Realistic Narrative
Narrative techniques and devices employed to create illusion of reality but kept invisible:
Formulae -CHRONOLOGICALITY and CAUSALITY
CHRONOLOGICALITY - events occur in a order (occasional flashbacks - the only permissible manipulation)

7. Realistic Narrative Formalistic Narrative
Christopher Nolan’s Memento (2000)
The entire story is told in backward ( from the present to the past).
Leonard, as a result of a blow received on his head during an assault on him, he has no short term memory.

8. Realistic Narrative
He is looking for the real killer of his wife, with the assistant of a Polaroid camera and tattooing on himself the important facts he finds. Each scene the viewer watches is one earlier than the last one he/she has watched. (In normal storytelling, the scene you have just seen is the one later than the last

9. Realistic Narrative
CAUSALITY - actions are joined together as a series of CAUSES and EFFECTS
'Plot is a careful and logical working out of
the laws of cause and effect. The mere
sequence of events will not make a plot.
Emphasis must be laid upon causality,
and the action - reaction of the human will.'
Francis Patterson, 'Manual for Aspiring Screenwriters', 1920

10. Realistic Narrative e.g. A storm isolate a group of characters;
a war separate lovers;
a lack of care kills tropical fish;
a cheat leads to a divorce;
a betrayal prompts a revenge.

11. Realistic Narrative
Mulholand Drive (2001) - divided into two main sections: the first, which could be interpreted as a dream (1 hour 56 minutes) and the final 25 minutes. Important events in the first section are repeated in the second section, but with significant differences.

12. Realistic Narrative
Different characters repeat the same actions, and these different characters are played by the same actors. Furthermore, the important events in the first part are mysterious, but there is a more mundane repetition of them in the second half.

13. Realistic Narrative
There is not much logic of cause and effect in the first section. The lack of causality is compensated by the repetition, which gives the film more textual coherence.

14. Realistic Narrative COINCIDENCE
According to the Hollywood narrative ‘formula’ coincidence should be confined to the initial situation
The later in a film a coincidence occurs, the weaker it is - the loss of credibility

15. Realistic Narrative
A case in which a coincidence takes place in the middle of a film. People in a local community discussing about the birds’ attack on school children.
Alfred Hitchcock’s The Birds (1963)

16. Realistic Narrative Actions must have their MOTIVATIONS
One must have a good reason for what one does.
When an action is unmotivated, it would lose its credulity

17. Realistic Narrative
‘In order that the motion picture may convey the illusion of reality that audiences demand, the scenario writer stresses motivation - that is, he makes clear a character's reason for doing whatever he does that is important.’ Frances Marion, 'Scenario Writing' 1938

18. Non-realistic Narrative
An example completely ignoring the (realist) narrative formulae developed in classical American films
Chronologicality, Causality, Motivation

19. Non-realistic Narrative
Surrealist film by Louis Bunuel designed by Salvatore Dali
Un Chien Andalou (1929)

20. Illusion of Reality in Realist Narrative
The film drama is:
‘… LIFE WITH THE DULL BITS CUT OUT’
(Alfred Hitchcock)

21. Illusion of Reality in Realist Narrative
Classical realist narrative is NOT retelling of what happens in reality as it does because it extracts from the world of its characters almost only elements which are relevant to its progress.
The realistic narrative in classical American films, which is achieved through various techniques and devices, is the one which gives the viewer reality and truth effects, but is not exactly real.

22. Purer Form of Realist Narrative
Purer form of realism in narrative is found in non-diegetic elements.
Diegetic - being relevant to the progress of a story
Non-diegetic - being irrelevant to the progress of an imaginary story

23. Purer Form of Narrative
Siegmund Kracauer finds an inverted relation between those images that further the story and those ‘retain a degree of independence of the intrigue and thus succeed in summoning physical reality.’

24. Purer Form of Narrative
Roland Barthes characterizes literary reference to objects that have no discernible narrative function except to give a material, worldly weight to the description as ‘reality effects.

25. Purer Form of Narrative
L’Amore in citta (1953) - a omnibus film about various forms of love and lovers. Dino Risi’s ‘Paradiso per tre ore’ (Three hours of paradise)
Stick to the realist narrative formulae - chronological, causality and motivation
Story time is equal to real time. Duration of story is the same to that of reality.

26. Purer Form of Narrative
A purer form of film realism is found in an incidental or contingent element in narrative. ‘… in the middle of the chase the little boy suddenly needs to piss. So he does.’ (André Bazin)
Vittorio de Sica’s Ladri di biciclette (1948)