1. Understanding Narration in Film
Telling Stories
Understanding Narration in Film

2. A Short History 1900—1920s 1927—1950 1950—1980 1980s—Present
First films were absent of narrative
Borrowed from existing stories (popular novels, campfire stories, and theatre)
1907 marks the use of a scriptwriter (or screenwriters)
Thus the birth of the screenplay and the need of new copyright laws
1927—1950
Pre-talky films relied heavily on intertitles (words inserted between images)
The shift into talkies was significant for the screenplay
The 1930’s-40’s model:
Narratives focus on one or two central characters
Characters move a linear plot forward
Action develops against realist cause/effect logic
1950—1980
Post WWII many writers begin to experiment with the traditional narrative structure
1980s—Present
Reflexivity (self-aware)
Theme Parks
Video Games
Remind students about Origins of Film and the technological advances that were the focus at first. Once we got a handle on it, we started to focus on narrative more. The Great Train Robbery – 1913 – First American film with a narrative.
Talkies and sound made the dialogue different. We went from words on the title cards to conversations and speeches. This affected storylines as well.
Simple stories mostly – two main characters, conflict and a linear plot.
After WWII we began to play and experiment more with narrative form.

3. Stories and Plots
Story – subject matter or raw material of a narrative, with the actions and events ordered chronologically and focused on one or more characters
Plot – orders the events and actions of the story according to particular temporal and spatial patterns, selecting some actions, individuals, and events and omitting others
Note the difference between story and plot.
If I was to pitch my movie to a company: Tell me what your movie is about? (this is the story. Ex: My movie is about a girl who moves to the city to make her dream come true.)
How are you going to tell that story? (Plot!) Picture this….young, bright-eyed girl gets of the bus in NYC, walks through Times Square, loses her suitcase and must start from scratch. She works as a waitress until she can save enough money to get an agent. She goes on audition after audition until she lands her big break…..all this is PLOT!)

4. Characters Characters motivate the actions of a film’s story
Character Functions (dramatis personae)
ARCHETYPE
Villain
Hero
Donor (who prepares the hero)
Helper (often an animal in folktales)
Princess (or sought-for person)
STEREOTYPE- Set of standards, social type
Many characters are a blend of ordinary and extraordinary
We understand characters based on their Values, Actions, and Behaviors.
Characters are what move all the stories forward.
Characters function in roles in stories.
Good characters move from ordinary to extraordinary.

5. Character Coherence
We usually evaluate a character’s coherence according to one or more of the following three assumptions or models:
Values – a character coheres in terms of one or more abstract values (ex. tenacity)
Action – character acts out a logical relation between his or her implied inner or mental life and visible actions (ex. generosity)
Behaviors – character reflects social and historical assumptions or abnormal behavior (ex. social norms)
Character Depth
Personal mysteries and intricacies that deepen and layer the dimensions of a complicated personally
Literal vs. Figurative
Archetype – a reflection of a spiritual or abstract state or process
Stereotype – a figurative type is reduced to a set of static traits
We understand characters based on their Values, Actions, and Behaviors.

6. Character Grouping
Character grouping refers to the social arrangements of characters in relation to each other
Protagonist – character we identify as the positive forces of the film (usually the main character)
Antagonist – character who opposes the protagonist as a negative force (creates conflict)
Classic pairing examples: Princess and Prince Charming, cowboys and Indians, Cops and Robbers, Shy girl and the jock, orphan and wicked step-mother, etc….

7. Narrative Patterns of Time
Linear Plot – events occur one right after another, in sequence
Plot Chronologies – nonlinear structure
Multiple perspectives
Flashbacks
Flash-forward
The Deadline Structure – temporal scheme that moves towards a specific moment
Narrative Duration and Frequency
– relies on editing strategies

8. Narrative Perspectives
First-Person Narration – a character tells the story from their point of view (ex Sunset Blvd)
Omniscient Narration – 3rd person narration with multiple perspectives
Restricted Narration – 3rd person with limited access to narrative
Reflexive Narration – calls attention to the narration (self aware)
Unreliable Narration – Is that story true? (ex Usual Suspects or Fight Club)
Multiple Narrations – Multiple stories (or perspectives) in one film (ex Babel or Pulp Fiction)
Omniscient means seeing all the characters thoughts and feelings.
Restricted/Limited means one or more, but maybe not all.

9. For this class…
You will be asked to identify the following moments of plot for each film:
Exposition – Start of film. Background information
Inciting Incident – The moment when the protagonist is introduced to a conflict
Possible conflicts: Person vs Self, Person vs Person, Person vs Environment, Person vs Society
Crisis – The moment when it seems like all hope is lost for our protagonist
Climax – The moment of resolution. The protagonist either gets what they desire or they don’t.
Dénouement – Everything that happens after the climax. The ending
Practice: using The Lion King…break it down into the major plot points
Think, pair, share