The Giver Narrative

The drama-science fiction film is directed by the 64-year-old Australian Phillip Noyce, who has directed 54 films and series so far, including the Salt (2010) and the Catch a Fire (2006). Two decades ago Jeff Bridges was the first, who wanted to get the filming rights in the screen adaptation of Lois Lowry's book. He desired to direct the film and gave the Giver’s role for his father, but the process was too long and his father died in 1998. He ended up playing one of the most significant role in the movie: he grabbed the Giver’s role. (The Sydey Morning Herald)
The movie is the first part of a quadrilogy that is why we will not know the whole story by the end of the film. Lois Lowry was inspired to write the book by her father, whereas he

Moreover we can analyse all of the performers by the psychological aspect, but there are more possibility in the narrative way.
First of all we need to determine what narrative is:“Narrative is a perceptual activity that organizes data into a special pattern which represents and explains experience. More specifically, narrative is a way of organising spatial and temporal data into a cause-effect chain of events with a beginning, middle, and end that embodies a judgement about the nature of the events as well as demonstrates how it is possible to know, and hence to narrate, the events.”(Edward Branigan, Narrative Comprehension and Film, 1992:3)
Based on the Hungarian dubbed version, in the beginning of the film we can hear a male narrator voice with pleasant intonation and tone, but if we watch the English version, we can read this introductory. This few lines establish our knowledge about the present and the past:
“From the ashes of The Ruin, the Communities were built…All memories of the past were erased”. (The Giver, 2014)
This points to the fact that there could be a war or something of great importance, by cause of there is no ash or rebuilt without any meaningful

Brecht first used the term in an essay on "Alienation Effects in Chinese Acting" published in 1936, in which he described it as "playing in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's