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Narrative elements of film
Elements of narrative structure in film
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Each person, ordinary or extraordinary, has a story to tell. Through the course of our lives, we become characters in others’ stories and others become characters in our own. Whether they play a leading role or not, the moment two tales meet is a moment that is destined to make changes to both lives. In the movie Philomena by Stephen Frears, the moment that Martin Sixsmith and Philomena Lee’s tales converge is captured. Martin Sixsmith is portrayed as a relatable character, therefore his development is used to enhance the theme of storytelling while making the film impactful to the audience.
The character-driven journey of the film is staged with Philomena’s past and Martin’s present. Straight away, film techniques are used to hint Martin’s
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Taking matters into his own hands, Martin confronts Sister Hildegard about her actions. As the atmosphere in the rooms intensifies, Philomena tells Martin, “It happened to me, not you”. Within this scene, over-the-shoulder shots are used to establish their points of view. While shot/ reverse shots are used to show the audience the contrasting opinions of Philomena and Martin. The piece of dialogue within the scene, “I’m angry”, said by Martin allows the audience to finally realize Martin is invested in the story. Although Martin’s actions crossed the line, the audience is able to see that Martin finally has grasped onto the art of storytelling. Until this point in the film, Martin was absorbed on spinning Philomena’s story to make it as appealing as possible, “story wise…of course”. The audience is able to see that Martin is now emotionally attached to the story as if it were his own. At this point in the film, Martin decides not to publish the story however Philomena decides she would like it to be published. The sudden reversal allows the audience to realize Martin is now worthy to communicate the story to the readers. He is able to publish the story in a way that isn’t manipulative or fake but conveys genuine feelings. Martin’s character development allows the audience to see that great storytellers must come to understand the stories before being able to successfully deliver it to an
Throughout “A&P” and “Gryphon” the two characters found themselves facing a challenge that they had never had to face before. Reading both of the stories has shown that although different adversities were represented in the books they both had challenges and reactions that were similar to each other as well as very different. Sammy’s was about a store called “A&P” where the manager confronted three girls in bathing suits and Sammy had to stand up for them. Tommy’s was about a unique substitute teacher who he quite enjoyed and his journey with her, and his defending her to the other kids when one of the children gets her fired. Together and separately these two dynamic characters make up these unique stories that ensnared their reader with their thoughts, adversity and heroic actions throughout the story.
As well as how Martin suffers from his own dilemma and fears that his wife might cause to his social life and children due to her life consuming addiction.
The protagonist, Martin is supportive, old-fashioned, and a hard worker. Firstly, Martin is supportive, “It was hard to believe that your own son was not like you wanted him to be, but Martin thought sadly you couldn’t make him see, if he didn’t feel that way…” (200). Despite his wish for David to grow up and live on a farm, he somewhat accepts David’s wishes with a strong effort and is supportive of David. Secondly, Martin is old-fashioned, “Martin listened with sick wonder to this stranger who had been his son. The city… It’s there the days are the same.” (197). Martin reveals his feelings toward the city and his preference of the farm life rather than the city life. Thirdly, Martin is hard working, “The plowed land was here before us and it will last after us and our hands should be proud to work in it.” (194). Martin works hard like any other farmer, maintaining the farm and livestock everyday despite his old age. Therefore, the protagonist Martin is supportive, old-fashioned, and hard
I have discussed how Francis F. Coppola exploits a wide array of audio and editing techniques to create suspense, tense, and anxiety in the sequence to affect the audience’s feelings. Despite the simple fabula, this multifaceted film requires certain intellectual involvement and efforts of the audience to grasp fully its underlying meanings and subtle nuances.
West Side Story, a film directed by Jerome Robbins and Robert Wise, is a relatively modern adaptation of William Shakespeare 's Romeo and Juliet. As both, the film and text, explore the perceptions of deep-rooted feud between two parties, it also includes the influence and pressure it has on young love. Although numerous similarities are encountered throughout the play and movie, there are distinguished concepts obtaining great difference. However, the two mediums of this tragic love story have three prominent issues of story, themes and characters instilling both similar and dissimilar concepts.
end. This essay will further show how both stories shared similar endings, while at the same time
The protagonist Hazel in ‘Yesterday’s Weather’ carries the insights of her slightly unhappy marriage and her motherhood. The story illustrates the occurrence of family gathering and how Hazel was affected by this particular trip. In this piece of the story, the readers will pick up on Hazel’s using the third person narration. “Third person limited point of view offers the thoughts and motivations of only one character” (Wilson, M & Clark, R. (n.d.)). That is to say, third person’s usage in the story is only able to give the set of emotion and actions. Therefore, limits the ability for the readers to see the insight of the other characters in the story.
At the outset, Atwood gives the reader an exceedingly basic outline of a story with characters John and Mary in plotline A. As we move along to the subsequent plots she adds more detail and depth to the characters and their stories, although she refers back with “If you want a happy ending, try A” (p.327), while alluding that other endings may not be as happy, although possibly not as dull and foreseeable as they were in plot A. Each successive plot is a new telling of the same basic story line; labeled alphabetically A-F; the different plots describe how the character’s lives are lived with all stories ending as they did in A. The stories tell of love gained or of love lost; love given but not reciprocated. The characters experience heartache, suicide, sadness, humiliation, crimes of passion, even happiness; ultimately all ending in death regardless of “the stretch in between”. (p.329)
The audience sees through staging and conversation between the two main characters that the communication of modern relationships
By stating how other people behave or interact, the author offers a great chance for readers to interpret fairly for themselves what the reason for any conflict may be, or the nature of any essential contrast between the narrator and other adults in the story. In the story, there are many self-righteous opinions from people, which seem to be ironic to the readers; For example, her mother’s aggressive attitude of showing off her daughter, her piano teacher’s self-praise claiming him as “Beethoven.” All of the narrations including conversation clearly depict a different characteristic between the narrator and other people. For instance, a conversation occurs between the narrator and her mother when the mother criticizing a girl who seems similar to the author on TV which reveals dissimilar understanding for both of them to each other’s behavior. At first, the daughter speaks out for the girl by questioning her mother by saying “why picking on her […] She’s pretty good. Maybe she’s not the best, but she’s trying hard.” The daughter actually is defending for herself and reflecting that she feels uncomfortable with her mother’s disregard of her hard work. She wants to get her mother’s compliments instead of her criticisms. However, her mother response of, “just like you,” and, “not the best. Because you not trying.” Here, her mother doesn’t really answer her question, instead wants her put more effort on trying, neglecting how much she has tried before. However, in her mother’s perspective, she has never tried hard enough. By narratively stating the conversations she has encountered, readers perceive a strong implication of the reason for a future conflict between her and her mother.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
The irony comes into play when the truth starts to unravel and Jack finds out what really happened to him as a child and why he does not know his parents. After some coincidental events, all the main characters end up in the same room. When Lady Bracknell hears Ms. Prism’s (the woman Jack hired as his nieces governess) name she immediately asks to see her. She continues to say that Ms. Prism had wandered off with a baby years ago and asks what came about of that. Ms. Prism continues the dialog to explain how she misplaced a baby that was in her bag at a train station. Jack, thinking he might have been that very baby, retrieves the bag he was found in as an infant in which Ms. Prism identifies by some distinguishing marks to have been her own. Jack realized the woman that had been teaching his niece was his mother. But then Lady Bracknell explained that she was not but Lady Bracknell’s poor sister Mrs. Moncrieff was.
People spend their lives not discovering who they are, but making who they will be. Their relationships and interactions with other people define them and contribute to their personality. The accumulation of every meeting and conversation an individual has leads up to who they have become. This happens in stories as well, interactions between characters show the reader who that character is as a person. This type of characterization can be used by the writer not only to create a personality, but to bring out a theme as well. The stories A Streetcar Named Desire, The Metamorphosis and “Everyday Use” all have distinct personalities that have very strong relationships with other characters; these relationships are able to bring out the themes from their
Shepherd, Valerie. "Narrative Survival: The power of personal narration, discussed through the personal story-telling of fictional characters, particularly those created by Margaret Atwood." Language and Communication. 15.4 (1995): 355-373.
Several different elements are necessary to create a story. Of all the elements, the conflict is most essential. The conflict connects all pieces of the plot, defines the characters, and drives the story forward. Once a story reaches its climax, the reader should have an emotional connection to the both story and its characters. Not only should emotions be evoked, but a reader should genuinely care about what happens next and the about the end result for the characters. Guy de Maupassant’s “The Necklace” is the perfect example of how a story’s conflict evolved the disposition of its characters.