english-narrative.ppt
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english-narrative.ppt
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Chapter4,Narrative,Introduction,Narrativereferstothewaythatastoryistold,thewaythattheorganizationofeventsintimeandspaceisthemostattractiveandinteresting.Hollywoodsownsetofinformalprinciplestoguidethecreationoffilmnarrativeisarelativelywelldefinedstructure.Narrativediffersaccordingtothepositionofthespectatorsaccordingtothestoryinformation:
restrictedandunrestricted,Narrative,Story,andPlot,Thesearebasictermsforanalyzingthenarrativestructureofafilm.DavidBordwellandKristinThomasdefinitionoftheseterms:
p34,TheBasicStories,Therearealimitednumberofstoriesthatformthebasisforallfictionalnarratives:
Achilles,Candide,Cinderella,Circe,Faust,Orpheus,RomeoandJuliet,Tristan,ThewanderingJew.P34-35,AchillesAcharacterflawleadstodestructionofeithertheheroorthevillain.Eg:
SupermanCandideYoucantkeepagoodguydownoptimismwilltriumph.Eg:
ForrestGump,Mr.Bean,AbeautifulMindCinderelladreamscometrue,transformationbringsthereward.Eg:
PrettyWoman,Circetheclassicchasestoryspiderandtheflytheinnocentpursuedbyevil.Eg:
FatalAttractionFausttheextenttowhichmanwillgotogetwhathewantssellingyoursoultothedevil.Eg:
WallStreetOrpheustragedyoflossorlookingforthatwhichislost.Eg:
BornontheFourthofJuly,RomeoandJulietBoymeetsgirl,boylosesgirl,boygetsgirlback(ordoesnt).Eg:
ShakespeareinLove,GhostTristanthelovetriangle.Eg:
TheGraduateTheWanderingJewthestoryofthepersecutedoralienatedtravelerwhowillneverreturnhome.Eg:
TheEnglishPatient,ApocalypseNow(现代启示录),FatalAttractionfitsAchillesandTristanErinBrockovichfitsCandideandCinderella.TheGraduatefitsRomeoandJulietandTristan.AndMiracle(amoviethatthishockeyfancriedallthewaythrough)fitsCandideandCinderella.,Yourassignment:
1.Theseclassicstorytitles,manyofwhichcomefromancientmythology.Trytofindtheirorigin.2.Startwatchingforthesepatterns.Keepasmallnotebookhandyandstartstickingeverymovieyouwatchintoitscategoryorcategories.,TheClassicHollywoodNarrativeSystem,Storytakesoncinematicvaluewhenitisworkedupintoacoherentplot.Hollywoodsnarrativeprinciplesandconventions-theClassicHollywoodNarrativeSystem(CHNS)http:
/history.sandiego.edu/GEN/filmnotes/classical.htmlItsdefinitionbyRobertMckee:
astorybuiltaroundanactiveprotagonistwhostrugglesagainstprimarilyexternalforcesofantagonisttopursuehisorherdesire,throughcontinuoustime,withinaconsistentandcasuallyconnectedfictionalreality,toaclosedendingofabsolute,irreversiblechange.,ThebasicprinciplesoftheCHNS:
p37TheHero/ProtagonistCauseandEffectOmniscientNarrationMotivationElisionNarrativeClosure,TheClassicHollywoodNarrativeStyle,Definition:
Astyledetermineshowthefilmisorganizedwiththeelementsofstory,sets,scenes,shots,sound.Aplotisthesequenceofactionsinchronologicalorder.Astoryisthenarrative,orcause-and-effectchainofevents,sometimesunseenandabletochangetimeandspace.Acharacterhascertaintraitsandreactstocertainsituationsasanagentofactionanddecision.Aprotagonististhecentralcharacter,active,goal-oriented,positivemotivations.Theantagonistisinconflictwiththecentralcharactersefforttosolveaproblem.,TheClassicHollywoodNarrativeStyle,Astorymusthaveresolution,anending,closureforcharactersandsituations.EditingisthephysicalrearrangementofframesoffilmandtheaddingofeffectssuchassoundContinuityisthearrangementofshotstotellaconsistentstory.Genreisastandardformulaforaparticularkindofstory.Auteuristhefilmmaker.(有独创性的)电影导演Mis-en-sceneisthearrangementofspace,toplaceonstagethecharacters,props,lighting.Chiaroscuroistherangeoflightingfromdarktobright.ki,:
rskuru(绘画的)明暗对照法Montageisthearrangementofimagesforeffect.Metaphorisasymbolicconstruction,TheClassicThree-ActLinearStructure,ThepredominatestructurefornarrativefeaturefilmsistheThreeActStructure.ThisisbasedonAristotlesPoetics,whichdescribestoriesasbeingstructuredintothreeacts.TheclassicThreeActStructurecomprisesaBeginning,MiddleandEnd-whichscreenwritersliketoregardastheSetup,ComplicationandResolution.Infilms:
ActIoccupiesthe1stquarterActIIoccupiesthenexthalfActIIIoccupiesthelastquarterSeetablesonp38,Act1-Beginning/Setup-toprovideinformationaboutthemaincharacters,thesetting,thetone,problems,conflicts,theloveinterest,andthetimescaleofthefilm.-presentationoftheprotagonist-tofindahook,akeyline,anincitingincident,andaturningpoint.p40,Act2Development-toshowthedevelopmentofthemaincharactersandplotthroughconflictandconfrontation-theprotagonistwilladvancetowardsthegoal-thePointofNoReturn,TurningPoint2P40,ActIII-End/Resolution-toprovideastrongclimaxthatresolvestheproblemfirstencounteredbytheprotagonistinActI-theprotagonisthasundergoneatransformationandispreparedforthefinalclimax-Climax,Resolution/Denouementp41,AlternativeNarrativeStructure,Twoofthemoresignificantalternatives:
-theepisodicstructure:
followtheprotagonistthroughaseriesofpotentiallyunrelatedadventureswithunlimitedturningpointsandthenarrativeisheldtogetherwiththearrangementsofthefigureoftheprotagonisthimself.-the“HerosJourney”structure:
formstheunderlyingnarrativestructureofmanymythsandlegends,inwhichnarrativeoccursinanumberofstagesP44,Subplots,MostHollywoodfilmshaveoneormoresubplotsadditionalstories/secondaryplotsthatarelinkedtothemainplotandhaveaninfluenceuponitthroughseparateactions.Subplotsareanypartsofastorythatarenotdirectlyconcernedwiththeprotagonistspursuitofhisgoal.Therelationshipbetweenthemainplotandthesubplots:
complementary,contradictory,setup,complicating.p45,RestrictedandUnrestrictedNarration,Restrictednarration-witholdsmuchofthestoryinformationfromtheaudience-typicallylimitsthespectatorsknowledgetothatofoneofthecharacters,asinthemysteryanddetectivegenres-effectiveinencouraginginthespectatortoidentifystronglywiththecharacterwhoseperspectiveheshares,Unrestricted/omniscentnarration-allowstheaudiencetoknowmorethananyorallofthecharacters-isappropriateforfilmsthatrelyonsuspense-createsagreatsenseofobjectivity,andthussuitsgenressuchasthedocumentaryandthehistoricalepic,Momentum,Momentumistheforwardmovementnecessaryfortheaudiencetomaintainitsinterestinthenarrative,thatis,itkeepstheaudiencewatchingthefilm.Anumberofdevicesareemployedbyscriptwritersanddirectorstogeneratemomentumintheirfilms:
suspense,subtext(sthoffscreen),stake-raising,andpacing.,Suspenseastateofmentalexcitement,indecisionoruncertaintyinastory.Thesenseoftensionandanticipationcreatedintheaudiencebythecharactersandeventsinastory.-Theaudiencewillexperiencesuspenseiftheyareuncertainoftheoutcomeofanevent.-acharacterpresentedwithastrongintentionandsignificantdifficultieslaidtoproducethesuspense-suspenseproducestwoemotions:
hopeandfear.,Subtexttheunderlyingthemeormessageofastory.Whileinexplicit,thesubtextisexploredthroughuseofmetaphors,symbolismandpyscho-emotionalactions.-producesasenseofmomentumbyarousingexpectationsaboutwhatmayhappeninthefutureoroff-screen,Stake-raisingreferstothesteadilyincreasingrisklevelthatthecharactersfaceasthefilmprogress-risksthatcharactersfacingchangedfromsmallandgeneralizedtosignificantandpersonalized,Pacingreferstotheoverall“flow”ofthefilm-therhythmof“highs”and“lowsFilmmakerstendto:
increasethepaceofthefilmasitreachestheclimaxAlternatebetween“highs”and“lowsthroughoutthefilm,AssignmentDoyouthinkthatnarrativeinHollywoodistooformulaictoproducegreatart?
Andeachprepareatwo-minutepresentation.Websitesforreference:
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