By Seymour Chatman
"For the expert within the examine of narrative constitution, it is a sturdy and intensely perceptive exploration of the problems salient to the telling of a story―whatever the medium. Chatman, whose procedure this is straight away dualist and structuralist, divides his topic into the 'what' of the narrative (Story) and the 'way' (Discourse). . . Chatman's command of his fabric is impressive."―Library Journal
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Extra resources for Story and Discourse: Narrative Structure in Fiction and Film
Sample text
It is significant that the government wanted to hide its leading role in this venture from the public, so that Ufa’s films would not appear to be mere propaganda. From the beginning, in fact, Ufa’s mandate had been to improve the quality of films while still serving the interests of the armed forces and big business. ”46 After the war, the German government’s secret involvement in Ufa was exposed and publicly condemned in the National Assembly. Even though the state had to sell its holdings in the company, the consolidation of the German film industry had produced an unprecedented pool of artistic talent in every department, spanning screenwriting, acting, set and costume design, as well as directing.
He even rails against revolutionary idealism: “Hahaha. My flesh should rot in the gutter so that your idea can be victorious? ”47 Movie houses overflowed after the war, as did theaters and dance salons. At the movies the masses found safe entertainment, an alternative to the turmoil of the streets, that nevertheless frequently alluded to relevant moral dilemmas or high-risk scenarios. Domestic melodramas expressed the mood of the home front, while adventure serials echoed the treacherous experience of combat.
The simulation brought the war home and, like the documentaries, involved civilians in an adventure by proxy. For the first wartime Christmas season, German cinema produced a number of films about the war as it was imagined and experienced on the home front. Films with self-explanatory titles like German Women, German Loyalty; It Should Be the Entire Germany: On the Field of Honor; and The Fatherland Calls opened in the late fall of 1914. They told melodramatic stories of crisis in which the war provided the populace with a unique opportunity to prove themselves true German patriots, caring parents or sons, and loyal lovers or friends.