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Narrative
a story with a particular plot and point of view
Story
the subject matter pr raw materials of a narrative
Plot
is the narrative ordering of the events of the story as they appear in the actual work, carefully arranged according to their particular temporal, spatial, generic, casual, or other patters
Classical Film Narrative
Hollywood’s dominant style of narrative film making in which characters’ goals propel a linear plot towards closure
Character Coherence
consistency and coherence in a character’s behaviors, emotions, and thoughts
values: the character coheres in term of abstract values such as determination or treachery
actions: character acts out a logical relation between their implied mental life and visible actions (like a kind character helps somebody)
behaviors: character reflects social & historical assumptions about normal or abnormal behavior (like in historical narratives where the men are kind of sexist)
Character Depth
a pattern of psychological and social features that distinguish a character as rounded and complex in a way that approximates realistic human personalities
Character Types
convey clear psychological or social connotations and imply cultural values about gender, race, social class, or age that a film engages with/manipulates
Archetypes
film characters that are so exaggerated or reduced that they no longer seem realistic and instead seem more like abstractions or emblems
can appear as a spiritual, psychological, or cultural model expressing certain virtues/values (like good vs evil)
Stereotypes
where an otherwise realistic character is reduced to a set of static traits that identify them in terms of their social, physical, or cultural category
Character Development
the patterns through which the characters in a film move from one mental, physical, or social state to another
external change: where the character’s physical appearance changes
internal change: where a character’s mentality changes
progressive & regressive development: where a character improves or advances in development or worsens/reverts back to where they were earlier in the film
Diegesis
the world of the film’s story (characters, places, events) including what is shown and what has been implied to have taken place
Nondiegetic Insert
an insert that depicts an action, an object, or a title originating outside the space and time of the narrative world, material used that does not relate to the diegesis of the film’s world
Linear Chronology
the arrangement of plot events and actions that follow each other in time
use of flashbacks/flashforwards would make a film not linear
Deadline Structure
a narrative structured around a central event or action that must be accomplished by a certain time
Parallel Plots
when there is more than one plot, often implied to be simultaneous, and often intersection at various points (pulp fiction)
Narrative Duration
the length of time used to present an event or action in a plot
Narrative Frequency
the number of times a plot element is repeated throughout a narrative
Psychological Location
when the film suggests an important correlation between a character’s state of mind and the physical place they inhabit in the story
Symbolic Space
a space transformed through spiritual or other abstract means related to the narrative
Narration
the telling of a story or descriptions of a situation, the emotional, physical, or intellectual perspective through which the characters, events, or action of the plot are conveyed
is not restricted to a single or verbalization through a narrator, can also refer to how movies organize plot elements
First-Person Narration
where a single character uses voiceover commentary or camera techniques/optical effects that mark an individual’s perspective
Narrative Frame
designates a context or person positioned outside the principal narrative of a film, such as cuts to scenes in which a character in the story’s present begins to relate events of the past and later conclude on their tale.
Third-Person Narration
narration that assumes an objective or detached stance toward the plot and characters by describing events from outside the story
Omniscient Narration
narration that presents all elements of the plot, exceeding the perspective of any one character
is a version of third-party narration
the standard form of classical films
Restricted Narration
narrative in which our knowledge is limited to that of a particular character, organizes stories by focusing on one or two characters
historically from novels/short stories where one or two characters dominate narration
Reflexive Narration
a mode of narration that calls attention to the narrative authority as an objective perspective on the world
Unreliable Narration
narration that raises questions about the truth of the story being told
sometimes called manipulative narration
Multiple Narration
when there are several different narrative perspectives for a single story or for different stories in a movie that loosely fit together
Anthology Films
films composed of various segments, often by different filmmakers
extreme version of multiple narratives where the perspectives feel distinctive instead of loosely connected
Classical Film Narrative
centers one or more central character who propel the plot with cause-effect logic
plot develops with linear chronologies directed at certain goals, even when flashbacks are incorporated into the film
employs and omniscient or restricted narration that suggests some degree of realism
Post-Classical Narrative
the form and content of films after the decline of the hollywood studio system around 1960
Alternative Film Narrative
deviates from common narrative structures, generally where the narrative undermines the centrality of the main character, the continuity (linearity), or the realism
Art Cinema
often experimental and disorientating, integrate the political assumptions and classical narratives by overturning their formal assumptions
form of alternative narrative
began around the 1950s