Experimental Structure

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‘Slacker’, a 1991 film directed by Richard Linklater, attempts to address the issue of life and its constant creation of unattainable, alternate realities. At the beginning of the film there is a monologue about how with each un-chosen decision, an alternate reality is created, that we will never know the outcome of, because we chose this reality that is happening right now.
Linklater constructed a narrative in which the audience follows different characters throughout the film, and we are immersed into a moment of their lives, whether an interesting event occurs or a seemingly mundane one, like a conversation with a friend, and this is how we are transported through the film and through the characters and locations.
This character-based form of storytelling is unlike the ‘usual’ three-act structure and its protagonist-driven storyline. ‘Slacker does not necessarily seem to have a set plot and a protagonist that the audience must follow and identify with. We are not transported into character’s world and then taken on a journey with them that will lead them to distress, decisions, heartache and resolution. Instead, it is like we are placed into random characters’ lives for a few moments to witness what they may be doing or going through- it is like seeing a piece of real life.

In a three act-structured film, we would first meet a character, the protagonist, in his normal everyday life, whether he is content, or unhappy with it, but it would seem ‘ordinary’ and routine-like. The protagonist would then face some form of trouble that disturbs this routine.
The protagonist would be faced with options that may lead to him or her solving the situation. We would then have our own idea of what the protagonist must...

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There are films where the beginning, middle and end are not so straight forward and might be structured in such a way that tell the story differently and allow the audience to experience the story and the film in a different way.
Films such as ‘Memento’, ‘Pulp Fiction’ and ‘The Fountain’, where a linear narrative isn’t followed. The first few minutes of ‘The Fountain’ follow one character (we assume), but in three completely different settings. If we were to assume they are three different characters, then the story is deviating completely from a generic three-act structure plot, as we are not following a single protagonist through his or her journey.
There isn’t one narrative structure that is correct for all stories. Some denounce the three-act structure and others believe it should be stuck to strictly. The story should be best told the way it is told best.

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