Thursday, 26 May 2011

Order of events -- 'fabula' (chronological story) and 'sujet' (plot order)



Fabula and sujet are terms originating in Russian Formalism and employed in narratology that describe narrative construction. Sujet is an employment of narrative and fabula is the chronological order of the retold events. The fabula is "the raw material of a story, and sujet, the way a story is organized." Since Aristotle (350 BCE, 1450b25) narrative plots are supposed to have a beginning, middle, and end. For example: films like Pulp Fiction and MomentoCitizen Kane starts with the death of the main character, and then tells his life through flashbacks interspersed with a journalist's present-time investigation of Kane's life. This is often achieved in film and novels via flashbacks or flash-forwards. Therefore, the fabula of the film is the actual story of Kane's life the way it happened in chronological order; while the sujet is the way the story is told throughout the movie, including flashbacks. (source: Wikipedia).

We will watch the film Momento (Dir. Christopher Nolan 2000) This film is often used to show the distinction between plot and story. The film's events unfold in two separate, alternating narratives — one in color, and the other in black-and-white. The black-and-white sections are told in chronological order, showing Leonard conversing with an anonymous phone caller in a motel room. Leonard's investigation is depicted in colour sequences that are in reverse chronological order. As each sequence begins, the audience is unaware of the preceding events, just like Leonard, thereby giving the viewer a sense of his confusion. By the film's end when the two narratives converge we understand the investigation and the events that lead up to Teddy's death. (source: Wikipedia)

HOMEWORK: You should complete the worksheet you started in class based on narrative chronology, fabula and sujet and the questions related to Pulp Fiction and Psycho. The last question which I did not include on the sheet is: How would you change the sujet (the director's ordering of events) of Cinderella or any other well-known fairy tale so that we don't simply follow the fabula (the linear chronology of events) but we can still follow the story's logic?

Friday, 29 April 2011

Narrative and narration part 2




And after Psycho, the logical choice is North by Northwest, which has a very different narrative structure,  demonstrating that we need to consider the relation of characters' needs to simple cause-effect logic.
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Narrative and Narration


Psycho (1960)
Dir: Alfred Hitchcock
"No one...BUT NO ONE...will be admitted to the theatre after the start of each performance of PSYCHO."

Let's look at CAUSE-EFFECT LOGIC in narrative film: The first three scenes of Psycho reveal the importance of 'narrative logic'. By scene three we have established the cause or motivation that will drive the film. From scene four onwards we will see the effects of Marion's actions (her decision to steal the money).

One fruitful ways to analyse cause-effect logic in narrative film is to imagine the scenes in a different order.

    1. What would be the effect if Psycho began with scene 3? It's plausible but not logical – we don’t have enough information to understand Marion’s motives.
    2. In what ways is scene 3 the direct effect of scenes 1 and 2?
    3. Is it just a coincidence that the money is shown in the scene immediately after Marion and Sam talk about their inability to get married?
    4. Why don't we see Marion travelling from the hotel to her office, or from office to home?
    5. Why don't we see Sam going to the airport?
So what do we mean by ‘narrative’?  It refers to WHAT happens or what is depicted in films (as well as novels) while ‘narration’ refers to HOW that narrative is presented to the film spectator.

Friday, 15 April 2011

3 minute film extract analyses

Films we watched today included:
  • Trainspotting (1996, Danny Boyle, UK)
  • The Dark Knight (2008, Christopher Nolan, US)
  • Second Hand Lions (2003, Tim McCanlies US)
  • Kill Bill (2003, Quentin Tarantino, US)
  • Black Swan(2010, Thomas Leroy US)
  • Just Go With It (2011, Dennis Dugan, US)
  • The Tourist (2010, Florian Henckel US)
  • Scoop (2006, Woody Allen, US/UK)
  • Cleopatra (1963, Joseph L. Mankiewicz, US)
  • Star Wars Episode V: The Empire Strikes Back (1980, Irvin Kershner, US) 

Friday, 8 April 2011

Lesson 11 - Formalist- and Realist-styles of film-making

                                        

Homework for next Thursday: Select 2 clips from 2 different films (from 2 different countries)  to illustrate your ideas – be ready to give a 5-10 minute talk based on your clips and how and why they illustrate the main features of a formalist or realist film.
Groups:
Formalists: Jimmy and Diego; Cristina and Deborah
    Realists: Ximena and Yoko; Oscar and Alfredo
       Some questions to consider before your talk:

1) What are realistic films supposed to reproduce?
2) Why are formalist films stylistically flamboyant?
3) Why are formalist directors referred to as expressionists?
4) Why would realists be more concerned with psychological truths?

Saturday, 2 April 2011

Textual Analysis of Michel Gondry Levi's commercial - 31st March



Remember to write up your TEXTUAL ANALYSIS of Michel Gondry's Levi's commercial using the WHAT; WHY; HOW formula (see below) and publish it on your BLOG - as well as publishing your Hollywood studio work and one entry for your PRODUCTION JOURNAL. You should also select a 2-minute sequence from a favourite film which you will talk about in class.

TEXTUAL ANALYSIS CHECKLIST

What do you need to think about when you look at a still photo?
Overall composition - framing of shot
Camera angle
Lighting, shade, and colour
Location - where was it shot
Target audience

What other elements do you need to include for an analysis of a moving film sequence?
Camera shots, movement (mise-en-shot)
Editing and sequencing (mise-en-shot)
Sound - diagetic or non-diagetic (mise-en-shot)
Location and set design (mise-en-scene)
Features determining film genre e.g. horror, thriller

For longer sequences:Representation of character and issues

Context:Construction according to narrative and other formal organising principles
Possible historical, economic socio-cultural and institutional factors

Sequence of tasks for any textual analysis of a film:
What is being seen and heard?
Why was it made that way?
How are things such as character mood and ideas constructed?

Barney Elliott - Markham College Film Masterclass - 7th April

The first in the Film Masterclass series will be held in the Music Room and will be by invitation only. The audience will be ALL of you IB Film students as well as potential film students primarily from S4.
Date: Thursday, 7th April 2011
Duration:
Content of Masterclass: Barney will talk about the scripting, filming and post-production of his two recent short films: True Colors (shot in London) and Last Resort (shot in Lima). He will also cover the process of getting financing for his planned long feature ‘Oliver’s Deal’ which he intends to start shooting in Peru this year or so. He will also talk about his work as a director of short commercials here in Lima.