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Published on : Jun 04, 2015
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Slide 1 - Narrative cinema In earliest days, cinema not used for story-telling (Lumières, Méliès) Cinematic narrative vs. other forms/media: particular to cinematic narrative are (1) collective production (2) allocation of budget (3) requirement for technical apparatus (4) distribution and marketing/advertising (5) certification/censorship
Slide 2 - Film narrative: the classic narrative model structured around equilibrium > disruption > new equilibrium events between also subject to ordering, typically according to cause > effect classic narrative governed by verisimilitude (vraisemblance) classic narrative driven forward by central character or ‘hero’, who often brings about resolution
Slide 3 - Codes of classic narrative 1 story must be kept moving causal links between events have to be made clear location(s)/sets must be credibly constructed characters must be individuated, ‘fleshed-out’ agents
Slide 4 - Codes of classic narrative 2 editing is key mechanism of control ‘continuity editing’ maintains appearance of continuous space and time in finished film. Viewer can ‘read’ film without conscious effort establishing shots and shot-reverse shot e.g. in Les Diaboliques
Slide 5 - Variations on classic narrative device of ‘delay’ (= withholding of knowledge) in Les Diaboliques. Begins from moment Lasalle’s body is disposed of. Flashback in Chocolat = 80% of film
Slide 6 - Flashback (= retour en arrière) juxtaposes present and past - present dissolves to past cinematic flashback more efficient than literature or theatre dissolve (fondu) takes place through voiceover or in image concepts implied are (1) memory (subjective) (2) history (shared, recorded)
Slide 7 - Flashback in Chocolat to address enigma ‘Why is France in Cameroun?’, answered at end of film is story in itself (becomes the film). Then ‘memory’ becomes ‘history’ again: France is in Cameroun to find out if she still belongs there (no).