Some classical and formalistic narrative techniques we recognize: When we criticize a movie, we should first check our understanding of what the writer and director were attempting to present to us. In the romance genre, for example, we must assume that people fall in love almost immediately (and that this love is real, as opposed to just a physical attraction). When watching a movie, or reading a script or novel, you should be aware of the genre rules and assumptions you are likely to be presented with. Good writers are able to push the boundaries of what a story can allow within its chosen genre. When narratives fail to act according to convention or what we have come to expect from tradition or from the genre, we, as viewers have to figure out what is meant from the deviation of the structure and style of the genre. Formalistic: (qualities: subjective, 1st person or unreliable narrator) Classical: (qualities: objective/subjective, 3rd person, often limited 3rd person)Ĭ. Realistic: (qualities: objective, 3rd person POV)ī. In film there are three super genres (broad genres that encompass the whole): they are STYLES of film:Ī. A genre sets forth the rules of what is possible in a film (or novel or short story as well). Absurd situations, for example, are expected in comedies, but not usually appreciated in dramas. Each genre has rules and expectations that help define its narrative elements: story, structure, character, plot, setting, etc.įor example, in a science fiction film, we assume that spaceflight is easily possible, or that alien life is probable.
Yes, you should note inciting incidents, major decisions, complications, conflicts, crisis or turning points, dark moments and enlightenments, etc.Īlso, stories are divided into genres. We have studied plot extensively in playwriting. Films are often written in 3-Acts, each with a beginning, middle, and end of an established or introduced conflict. In the classical narrative style, the established conflict builds to its maximum tension in the climax. The story can be defined as the general subject matter, the raw materials of a dramatic action in chronological order. In classical films, boring gaps in the narrative are edited out by a discrete storyteller, who keeps a low profile, yet maintains to keep the action on track, moving toward a specific ending-the resolution of the story’s central conflict. Narration also differs according to a movie’s style. Should we credit the director, writer, editor, actor, or cinematographer as the author whose vision controls the project? Or perhaps we should credit the viewer who is responsible for following the film story? In cinema, the problem with this communications model is determining who the sender is because while the implied author is the filmmaker, multiple authorship of scripts is common, especially in the United States. That is, the forms that "message senders" use to communicate with "message receivers." It’s a notion that even Groucho Marx would’ve found absurd.Narratologists (people who study narrative structure) are interested in the rhetoric of storytelling. Firefly no longer seems like an alien political figure. Because of Trump’s ascension, however, Rufus T. It’s reminiscent of a memorable line from Hillary Clinton’s acceptance speech at the DNC: “A man you can bait with a tweet is not a man we can trust with nuclear weapons.” Before this election, Duck Soup resonated in the United States through the ways it lampooned concepts like nationalism and political decorum. The film imagines a world where an inexperienced and indecorous leader plunges his country into war partly because of some mild insults he’s unable to move past. More than 80 years later, Duck Soup retains its transgressive spirit. Their outsized, deeply rooted personas render them seemingly incapable of restraining their destructive impulses. Whether it’s slapping an ambassador or berating the parents of a fallen soldier, they consistently favor entrenchment over contrition, even when presented with opportunities to right the course. But the most obvious overlap between Trump and Firefly comes from their pathological compulsion to belittle any perceived rivals and then refuse to apologize or back down.
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