Film narrative part 2
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The document provides information on analyzing film narratives, including conventions of linear and non-linear structure. It defines different types of time in narratives such as story time, discourse time, summary, ellipsis, scene, stretch, and flashbacks/flash-forwards. Students are instructed to analyze short film clips in groups based on these concepts of narrative and time, and present their findings in a PowerPoint. Example film clips and group assignments are provided.
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Film narrative part 2
The document discusses different ways that time can be manipulated and represented in film narratives. It identifies several types of time manipulation including:
- Story time, which is the actual time of events in the story.
- Discourse time, which is the time taken to narrate or tell the story. This can be shorter or longer than story time.
- Scenes where story time and discourse time are equal to show realism.
- Stretching time through techniques like slow motion to extend discourse time beyond story time.
- Flashbacks and flash-forwards, which are non-linear and manipulate the order of story time for effect, such as providing crucial clues or insights into a character's thoughts.
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The document provides guidance for analyzing the opening 2 minutes of films. It lists the aims of the analysis as developing an understanding of common film techniques, understanding how much of the storyline and action is conveyed. It instructs the reader to select a single film and bullet point conventions present in the opening that set tone and mood. Examples are provided from the film Whiplash, noting the use of diegetic sound and camera movement. Theories of narratology and its application to film openings are discussed. Criteria are provided for analyzing additional film openings.
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Film narrative part 2
The document discusses different ways that time can be manipulated and represented in film narratives. It identifies several types of time manipulation including:
- Story time, which is the actual time of events in the story.
- Discourse time, which is the time taken to narrate or tell the story. This can be shorter or longer than story time.
- Scenes where story time and discourse time are equal to show realism.
- Stretching time through techniques like slow motion to extend discourse time beyond story time.
- Flashbacks and flash-forwards, which are non-linear and manipulate the order of story time for effect, such as providing crucial clues or insights into a character's thoughts.
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The document discusses similarities in how four action movie deconstructions open their films. All four begin with an establishing incident to set the dramatic and action-oriented tone. They also use similar camerawork and sounds to create tension and set the atmosphere and context. Additionally, they provide clues about the theme, characters, and location within the first two minutes to quickly engage the audience in the story.
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This document provides an overview of the structure and requirements for an A2 Media course. It includes information on:
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This document provides information and instructions for a media studies lesson on opening title sequences (OTS). It defines an OTS as the method films and TV programs use to present titles, production details, and cast through visuals and sound. The purpose is to introduce the film or show. Students will analyze existing OTS examples and create their own two-minute horror film title sequence for a coursework assignment. They are instructed to research OTS styles on the website artofthetitle.com and complete an analysis worksheet in groups for homework.
Film language - narrative 2
This document discusses various narrative techniques and structures used in filmmaking. It begins by describing linear and non-linear narratives, as well as multi-stranded narratives that feature multiple storylines. It also discusses restricted and unrestricted narratives, focalizers that determine a story's perspective, and the use of ellipsis, closure, and the three-act structure. The three-act structure typically involves an introduction to establish characters and settings, the introduction of a conflict or problem, and then a resolution to that problem.
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This document provides information about preparing for an exam on the Greek play Lysistrata by Aristophanes. It discusses the exam format which is split into 3 sections, with 1 question to be answered from each section. Sample questions are provided that focus on rehearsal strategies for an extract and interpreting the play for a modern audience. The document also covers activities for understanding character, theme, and plot based on Aristotle's Poetics, including developing masks, readings, and identifying themes. Students are guided to consider adapting the play for modern audiences.
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The document discusses various editing techniques used in film and television. It covers continuity editing and how the order of shots can change the perceived narrative. It also discusses the Kuleshov effect and how juxtaposing shots can influence audience interpretation. Additionally, it outlines the four main functions of editing as well as the four areas of editing - graphic relations, rhythmic relations, temporal relations, and spatial relations. Specific techniques like match cuts, dissolves, and shot-reverse-shot are explained in the context of achieving continuity and coherent storytelling.
Lysistrita aristotle;plot;character;theme;concept
Updated version including Director's concept slides and tasks.
Dates will need changing if you download for your own students.
06film Studies
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
Week 4 CCC Part 4 Template4A. Goal Reflection and Revision .docx
Week 4 CCC: Part 4 Template
4A. Goal Reflection and Revision
Original Goal (from Part 1E):
Updated Goal:
Rationale:
4B. Behaviors Brainstorm
4C. Behavior Description
Behavior 1
· 4C1. Behavior 1: In order for me to achieve my goal of …, I will . . .
· 4C2. Behavior 1: In order for me to achieve my goal of …, I will . . .
· 4C3. Behavior 1: In order for me to achieve my goal of …, I will . . .
Behavior 2
· 4C1. Behavior 2: In order for me to achieve my goal of …, I will . . .
· 4C2. Behavior 2: In order for me to achieve my goal of …, I will . . .
· 4C3. Behavior 2: In order for me to achieve my goal of …, I will . . .
(Add more behaviors as needed.)
4D. Description Revision
4E. Final Behavior List
Final Goal (Updated Goal fro 4A):
Specific Behaviors (4C):
Statement of Behaviors:
THE ACTOR
-a brief chat-
WHAT IS ACTING?
WHAT MAKES A GOOD ACTOR? WHAT TOOLS ARE USED?
https://youtu.be/nyoWmkhRyp8
A Few Schools of Thought…
________________________________________________________________________
________________________________________________________________________
_________________________________________________________________________
_______________________________________________________________
STANISLAVSKI
“the art of experiencing”
-taking on the life of another
STRASBERG
“The Method”
-psychological aspects
ADLER
-harnessing imagination/action
-thought ”The Method” was unsafe
MEISNER
-importance of impulse/instinct
-”truth above all”
CHEKHOV
-physical manifestation
-use body to show character’s inner life
PRACTICAL AESTHETICS
-what is the essential action?
-the actor’s primer
HAGEN
-applying own experiences to circumstances
-”realism above all”
SPOLIN
-for directors as well
-importance of play/improvisation
THE “DEFINITION” OF ACTING
“Acting is
living truthfully
under imaginary circumstances.”
-Meisner
What does the actor do?
Brings life and character to the text.
Attempts to create a full, truthful, three-dimensional character.
Attempts to understand the psychology of their character.
Why do I do what I do?
What do I want?
What is in my way?
What is at stake?
SIDEBAR:
WRITE DOWN YOUR FAVORITE MOVIE/TV SHOW/PLAY/MUSICAL
Who is your favorite actor/character in it?
Why?
Tell your pal next to you.
NO JUDGING. DON’T BE A JERK.
HOW DOES THE ACTOR DO IT?
OBJECTIVE – TACTIC - OBSTACLE
1. Objective
What does the character want?
"I want to ______".
Super-objective: throughout show.
Objective: smaller goals throughout
Bigger objective = higher stakes
2. Obstacles
That which is in the way of getting what the character wants.
For example:
The other person’s feelings
Your own self esteem
Society
Money
The environment
A bear.
3. Tactics
HOW we go about getting what we want
By _______ing
Complimenting
Scolding
Seducing
Joking
Guilting
TACTICS & OBSTACLES EXAMPLE
https://youtu.be/u4Je2WxsqWA
Objectives and Tactics
A change in OBJECTIVE requires a cha ...
Lincoln launch print
This document outlines the structure and exercises for the 2017/18 edition of the Le Cinéma, cent ans de jeunesse film program, which focuses on the theme of "Places and Stories." The program involves both watching film clips and discussing them, as well as completing three short filmmaking exercises and a final film project about a character bringing another character into a place that elicits an emotional response. The exercises are meant to explore different types of places that can tell stories through film and how places are represented.
Narrative
Narrative is the way a story is told through a sequence of events. Structuralist analyses have identified common character types like heroes and villains. Binary oppositions privilege one term over another. Narratives can be open-ended like soap operas or closed with a clear ending like films. Closed narratives invite audiences to make judgments about characters. Narrative elements include plot, character, point-of-view, setting, and theme. Theories explore concepts like narrative structure, codes and conventions.
Key terminology 2
This document outlines key film terminology and concepts for a G.C.S.E. Film Studies class. It defines diegetic and non-diegetic sound, and provides examples of how each can be used and analyzed in films. It also explains different narrative structures like linear, non-linear, and circular narratives. Additionally, it introduces Todorov's narrative theory of equilibrium, disequilibrium, and new equilibrium. Students are assigned to analyze sound usage and narrative format in film scenes and clips using these concepts.
Frank Daniel's Sequence Approach
Frank Daniel's sequence approach divides a film into three acts with a total of eight sequences. Each sequence is 10-15 minutes and moves the story forward. The first act has an inciting incident that disrupts the status quo. The protagonist tries to restore the status quo but fails, posing a new dramatic question. The second act sees the protagonist attempt solutions that ultimately fail until reaching a midpoint crisis. The third act resolves the central dramatic question and establishes a new status quo. This structure provides a practical way for screenwriters to pace their story and create narrative tension.
Slumdog Millionaire
The film Slumdog Millionaire follows the story of Jamal Malik, an 18-year-old orphan from the slums of Mumbai who is a contestant on the Indian version of "Who Wants to Be a Millionaire?". As he advances through the game show, it is revealed that the questions he is asked trigger memories of his childhood experiences living in the slum with his brother Salim. Through a series of flashbacks, Jamal's journey from the slums to the game show is shown, including the hardships he faced and his lifelong search for his childhood love Latika. The film combines Jamal's present-day experiences on the game show with flashbacks to his past to tell his
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Week 4 CCC Part 4 Template4A. Goal Reflection and Revision .docx
Week 4 CCC Part 4 Template4A. Goal Reflection and Revision .docx
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Film narrative part 2
- 1. FILM NARRATIVE PART 2 L/O:
- 2. Starter • Think of the film slumdog millionaire we watched • Write a short/quick response as to how the film has • 1) Conventional linear narrative structure • 2) Unconventional non-linear narrative structure
- 3. Key words • Time • Story Time • Discourse Time Summary Ellipsis Scene Stretch Flashback Flash-forward • sd
- 4. Time How is time edited? How is time shown and/or manipulated to communicate a narrative? • How is time shown/represented? • Is there a manipulation of time? How? Why? TYPES OF TIME • STORY TIME: time of the events (ex a film over 50 years ….) • DISCOURSE TIME: time taken to narrate the event (how long to tell the story? i.e. 2 hours )
- 5. More types of time MORE TYPES OF COMMENTS Example TIME Summary -discourse shorter than story A film takes place over 50 years but shown in 2 hours Ellipsis -establishing discourse time rather -shot 1: man out of bed…. than story -shot 2: man in shower….. -shot 3: man getting dressed…. -shot 4: man driving to work. 30 secs total to communicate a few hours = The audience can fill in the gaps (…) Scene -story and discourse time are equal (to Soap opera which shows a scene in 5 minutes show realism (real time) which is actually 5 mins Stretch -discourse is longer than story Scene in race where it is in slow motion to show (using slow motion) a runner winning and to capture the emotion Flashback -character has a flash back (which is a In hunger games, Kat is thinking about Peeta at thought or memory in the past) dinner table, she has a flashback and audience -flashbacks are often in dull colours, black and see her thoughts of her sitting outside the bakery white and altered light (to make it different than and Peeta throwing her bread real time) -causes non linear narrative as you are changing order of time Flash-forward -when audience are shown the future scenes or events (often to give clues) -causes non linear narrative as you are changing order of time
- 6. Questions to ask • The next 2 slides are questions to discuss and answer to show your understanding of narrative
- 7. Part 1: Overall Narrative • In 5 simple bullet points, write down the story (synopsis) of the film • Is this a whole narrative, a section or an enigma? • If you are looking at a section of a narrative, what function does this section have for the narrative? (Think about the whole) • Does the film follow the conventional narrative (3 part)? Explain yes or now • Does the clip fall into a conventional narrative structure? Explain yes or no
- 8. Part 2: Narrative Structure • Is it linear? How? Or is it non-linear? How (Does it have flashbacks, flash-forwards, or episodically) • Is it being presented in segments, separated by changes in location or time? • Is it being broken up or linked by graphics? • Is there a single narrative (even if different aspects in this narrative are being shown)? Or are multiple narratives being shown? • Are there clear character roles and functions being established, such as a hero or villain? How does their role(s) connect to the narrative? • In what ways is the narrative constructing the ideology of the text? Is this explicit/obvious (like in a lot of adverts) or is it implicit/hidden?
- 9. Part 3: Time • What is story time length? • What is discourse time length? • Identify all types of time being represented: • Summary • Ellipsis • Scene • Stretch • Flashback or flash-forward
- 10. Task • You will work in groups to analyse the narrative in a short clip relation to the whole film. • You will make a PowerPoint together as evidence of your understanding about narrative. You will present this to the class and I will mark you then and there. • The presentation will be no longer than 7 minutes long. • We will do one together first
- 11. Momento (Beginning Scene) • http://www.youtube.com/watch?v=VqW9fnkhqrs
- 12. Groups Groups Names Clip to analyse http://www.youtube.com/watch?v=3c5pbePUc2g 1 Chelsea Monae Laura (freedom) teacher reads diary http://www.youtube.com/watch?v=u-moVw-R1rw 2 Abigail Russ Nicole (slumdog) last question http://www.youtube.com/watch?v=5XmzSjqIPHs 3 Rosie Marisha Helen (hunger) shooting apple http://www.youtube.com/watch?v=mV912uiRM_A 4 Jodie Amy Maria (slumdog) boys on a train http://www.youtube.com/watch?v=VrJMgYRC_ys 5 Jhane Ingrid Fatou (freedom) admits in court and harassed http://www.youtube.com/watch?v=a-ins2kYZqQ 6 Michaela Rianne Pam (hunger) rue dies