By Edward Branigan
Narrative is without doubt one of the methods we organise and understnad the realm. it truly is stumbled on in every single place: not just in movies and books, but in addition in everday conversations and within the nonfictional discourses of reporters, historians, educators, psychologists, lawyers and lots of others.Edward Branigan offers a telling exploration of the fundamental options of narrative conception and its relation to movie - and literary - research, bringing jointly theories from linguistics and cognitive technology, and making use of them to the monitor. person analyses of classical narratives shape the foundation of a fancy research of each element of filmic fiction exploring, for instance, subjectivity in girl within the Lake, multiplicity in Letter from and Unknown lady, post-modernism and documentary in Sans Soleil.
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Additional resources for Narrative Comprehension and Film (Sightlines)
Example text
Lang has created these effects through editing and the use of angled glances. '" Lang has not used mise-en-scene or overlapping space to orient the spectator. We cannot, for example, decide from the background of shot 5 (fig. 5) where the man must be located with respect to Mabuse. Incredibly, not until shot 25 are we presented with an establishing shot of the room . Lang avoids techniques of the early cinema which would have presented the scene in a single shot as a distant tableau. Instead the spectator is initially placed "inside" the action.
These sorts of (semi-subjective) effect must be taken into account as we construct the space and time of a story world. The development of space through the perceptions of characters, like the impossible causality of The lAdyfrom Shanghai, may create problems for the spectator that lead toward nonliteral interpretations of events. Fritz Lang's Dr Mabuse, the Gambler (Part One, 1922) opens on a close up of photographs of men spread out in someone's hand as if they were playing cards. " In the second shot we see the man who was holding the "cards," Dr Mabuse, now shuffling them, though we do not see his eyes.
What is certain about comprehension is that the perceiver must search, compare, test, discriminate, remember, and speculate within many realms and imagined contexts. Evidence on the screen cannot "speak for itself:' for how can we know what is implied by the evidence and what limits may exist on a given (top-down) method of seeing? , a different top-down schema - may reveal that the data under the old method was actually inconsistent, fragmentary, mistaken, deceptive, or ambiguous. Switch ing methods again may recast the evidence a third time.