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Classical hollywood film paradigm
Classic hollywood cinema
Classic hollywood cinema
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The 1949 version of Little Women (Mervyn LeRoy, 1949) was a remake of the 1933 RKO modification of Louisa May Alcott’s Novel. In March of 1949 MGM established the film rights to the novel and a completed screenplay. This American feature film was set in New England during the time of the Civil War, and was considered to be the prettiest adaptation of the many film versions of Louisa May Alcott’s novel. The film provides the audience with various adventures of the March sisters sharing moments of high comedy and romantic intermission, which are counteracted with heartfelt tragedy. How does the film Little Women portray the Classical Hollywood Narrative style?
In classical Hollywood cinema, the narrative is clearly structured with a beginning middle and end. The narrative generally defines the process, in which a plot is arranged to allow the telling of a story, and establish clarity to make Hollywood films appear whole. The story isn’t an extended narrative, but it tells a more intimate family relationship. It begins with the March family. A family that has hit a rough patch of hard times, Mr. March has departed to serve in the Civil War thus leaving his wife Marmee to watch after their four girls Meg, Jo, Beth, Amy. The film traces the lives of the four sisters from adolescence through early adulthood. Over the course of the story the girls have to face poverty, feeding neighbors, illnesses, tragedies, relationships, and change. This quote from Decent Films shows that the girls were not defined by their relationships with other characters, but by whom
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Part comedy of manners, part morality tale, it’s more interested in its heroines “conquering themselves” than in a man conquering their
Steinbeck describes Ma as a strong woman, physically “heavy, thick with childbearing and work” (Chap.8). From the moment the author introduces her to the reader, she displays two qualities that remain throughout the book: generosity and self-control. Her first word aims to welcome stranger at the family table (“Let’em come”).
This is a movie in another movie that has a story from the past that is repeated nowadays: the same conflicts between exploited and exploiters, enslavement, injustice, protection of the public against those who put a price, and also the story of how the union of many sometimes gets what seemed
Narrative structure is traditionally made up of two parts the story and the plot. Story describes the events as they are told to or seen by the audience. Plot is what happened in chronological order within the story world (see figure). The distinction between story and plot is further defined by No Film School’s Justin
March leaves to meet with the girls’ father when getting news that the father has become ill, the girls start to become lazy. During the weeks after Mrs. March leaves, the girls’ motivation to do work has gone down, but one of the girls, Beth, goes to the Hummels to help take care of their baby, while the baby’s mother is at work. During the days she helps take care of the Hummel’s baby, the baby is sick with scarlet fever and dies. Beth comes down with scarlet fever soon after and has everyone worried. For a while, Beth does not get any better, and the girls don’t tell their mother that Beth is sick. When the doctor tells the girls to tell their mother Beth is sick because there is a chance she will die, the girls do so. While they wait for their mother to come, Beth suddenly looks better and everybody and everything looks brighter and
A narrative is specified to amuse, to attract, and grasp a reader’s attention. The types of narratives are fictitious, real or unification or both. However, they may consist of folk tale stories, mysteries, science fiction; romances, horror stories, adventure stories, fables, myths and legends, historical narratives, ballads, slice of life, and personal experience (“Narrative,” 2008). Therefore, narrative text has five shared elements. These are setting, characters, plot, theme, and vocabulary (“Narrative and Informational Text,” 2008). Narrative literature is originally written to communicate a story. Therefore, narrative literature that is written in an excellent way will have conflicts and can discuss shared aspects of human occurrence.
A set of practices concerning the narrative structure compose the classical Hollywood Paradigm. These conventions create a plot centering around a character who undergoes a journey in an attempt to achieve some type of goal (). By giving the central character more time on screen, the film helps the audience to not only understand the character’s motivation but also empathize with his/her emotional state. Additionally, some antagonistic force creates conflict with the main character, preventing immediate success(). Finally, after confronting the antagonist, the main character achieves his or her goal along with growing emotionally(). This proven structure creates a linear and relatively easily followed series of events encompassing the leading character and a goal.
In the words of Michael O’Shaughnessy, ‘narratives, or stories, are a basic way of making sense of our experience’ (1999: 266). As a society and a culture, we use stories to comprehend and share our experiences, typically by constructing them with a beginning, middle and an end. In fact, the order that a narrative is structured will directly impact the way it is understood, particularly across cultures. This idea originated through Claude Lévi-Strauss’s concept of structuralism in anthropology which ‘is concerned with uncovering the common structural principles underlying specific and historically variable cultures and myth’ in pre-industrial societies (Strinati 2003: 85). In terms of media studies, structuralism’s inherent objective is to dig beneath the surface of a media text to identify how the structure of a narrative contributes to it’s meaning. Structuralism encompasses a large range of analytical tools, however, this essay will examine Joseph Campbell’s monomyth and Claude Lévi-Strauss’s theory of binary oppositions. Through analysis of Victor Fleming’s film, The Wizard of Oz (1939), it will be shown that although the monomyth and binary oppositions are useful tools with which to unveil how meaning is generated in this text, structuralism can undermine the audience’s ability to engage with their own interpretations of the film.
This can also be described as the way story events are distributed within the film by the plot. This distribution results in narration. Range and depth of information are the most important considerations when distributing story events for narrative purposes. Bordwell & Thompson, 2004, p.87
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.
Female independence plays a major role in Little Women, exhibiting how the March sisters help provide for their mother and home. Jo, Amy, Beth and Meg are teenagers with many responsibilities, which ultimately teaches them independence. As teenagers, each of the March girls have a job and chores to do to help their mother, Marmee March, keep a pleasant home. "The virtues of mutual self-sacrifice and domestic cooperation, however, must be proven to the March girls before they can recognize how important such virtues are to their self-realization:" (Thomason 141). From the circumstances they face, the March girls begin to realize the virtues in their jobs, learning from them and to enjoy them. Meg is a governess in New York for the Kirke children, who are constantly rude to her, whereas Jo works for her Aunt March who has no children. Beth does not go to school, so she just does chores and studies at home, because she is shy. Mrs. March is an example of an independent woman wh...
According to historians like Neil Burch, the primitive period of the film industry, at the turn of the 20th century was making films that appealed to their audiences due to the simple story. A non-fiction narrative, single shots a burgeoning sense
The film employs a framing technique so that the chief action of this film is a story being told within a story, whereby an introductory narrative is introduced (for setting the stage or to lead into the other story) and a second narrative follows. The film does not seem ...
...verything around us is made by our actions. Positive or negative they cause an effect that will ultimately lead to a different story base on how we interpret life. Narrative elements are used as a bridge by the directors in their film to create any master plot that is currently known. Any modification at any narrative element used by the director at important moments inside the story can help you portray a different master plot. This used of narrative elements can be best described as an ever changing process that takes place inside an individual’s head. Depending on the individual that may be exposed to those narrative elements can create different meanings. This new interpretation can be different for everyone. We have to be aware that one change in the surface scenery can lead to many ideal outcomes in our minds and that is the main power the audience has.
Mrs. March, also known as Marmee, like many women during this era had to learn how to balance working outside the home with raising a family while her husband served in the Union Army. Marmee shows, “that a home can be run successfully without a man supporting it, as hers is while Mr. March is away at war” (Thomason 123). She proves to have a strong influence on her daughters as they weave through their daily lives and dreams of their futures. The young girls, who are each unique in their personality and expectations, tend to make poor choices throughout the novel. However, Marmee is there with just the right advice each time.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...