Narration in FilmsNarration in FilmsNarration in FilmsNarration in Films

Film Principles

Bong S. Eliab

Ateneo de Davao University

Film Principles

Bong S. Eliab

Ateneo de Davao University

NarrationNarration

Plot: distribution of story information to the viewer.

At any point in a given narrative, we can ask ourselves how much we know (as viewers) in relation to the characters on screen.

This relationship can be represented as a hierarchy of knowledge and there are a few important terms we use to express these relationships.

Plot: distribution of story information to the viewer.

At any point in a given narrative, we can ask ourselves how much we know (as viewers) in relation to the characters on screen.

This relationship can be represented as a hierarchy of knowledge and there are a few important terms we use to express these relationships.

Swimming Pool

Range of NarrationRange of Narration

1. Unrestricted Narration

2. Restricted Narration

1. Unrestricted Narration

2. Restricted Narration

Francois Ozon’s Swimming Pool

Unrestricted NarrationUnrestricted Narration

When the viewer knows more than any or all of the characters.

Highly unrestricted narration is called omniscient.

When the viewer knows more than any or all of the characters.

Highly unrestricted narration is called omniscient.

Swimming Pool

Restricted NarrationRestricted Narration

When the viewer knows only as much as a single character (usually the protagonist).

Example: Malena, The Road Home

When the viewer knows only as much as a single character (usually the protagonist).

Example: Malena, The Road Home

Malena

Depth of NarrationDepth of Narration

1. Objective Narration

2. Perceptual Subjectivity Narration

3. Mental Subjectivity Narration

1. Objective Narration

2. Perceptual Subjectivity Narration

3. Mental Subjectivity Narration

Swimming Pool

Objective NarrationObjective Narration

Viewer’s knowledge is restricted to the external behavior of the characters.

Highly objective narration (in certain forms of documentary, or in the films of Jim Jarmusch, for example) is known as "fly-on-the-wall."

Viewer’s knowledge is restricted to the external behavior of the characters.

Highly objective narration (in certain forms of documentary, or in the films of Jim Jarmusch, for example) is known as "fly-on-the-wall."

Lawrence of Arabia

Perceptual Subjectivity Narration

Perceptual Subjectivity Narration

Viewer has access to the visual and aural perspective of the character through the "point-of-view (POV) shot.

Viewer has access to the visual and aural perspective of the character through the "point-of-view (POV) shot.

DreamersDirected by Bernardo Bertolucci

Mental Subjectivity NarrationMental Subjectivity Narration

The viewer is plunged into the character’s mind and consciousnessViewer has access to inner-thoughts (through voice-over narration), dreams, fantasies, visions.Use of flashback scenes

The viewer is plunged into the character’s mind and consciousnessViewer has access to inner-thoughts (through voice-over narration), dreams, fantasies, visions.Use of flashback scenes

Swimming PoolLudivine Sagnier with Director Francois Ozon

MotifMotif

Any significant, repeated in a film

Visual or aural motif

Plays significant role in the narrative or stylistic system

Any significant, repeated in a film

Visual or aural motif

Plays significant role in the narrative or stylistic system

Note the hairclip on The Road Home

MotifMotif

Common visual motif Aural motif: recurring

melody, a line of dialogue

Others: a distinctive camera movement, a prop, a lighting technique, or an abstract theme of idea

Common visual motif Aural motif: recurring

melody, a line of dialogue

Others: a distinctive camera movement, a prop, a lighting technique, or an abstract theme of idea

MotifMotif

Common visual motif Aural motif: recurring

melody, a line of dialogue

Others: a distinctive camera movement, a prop, a lighting technique, or an abstract theme of idea

Common visual motif Aural motif: recurring

melody, a line of dialogue

Others: a distinctive camera movement, a prop, a lighting technique, or an abstract theme of idea

Motif serves important functionsMotif serves important functions Unity: helps unify film by

establishing central issues and images to which the film returns again and again.

Allows viewers recall previous moments in the film when that image or idea appeared

Allows filmmaker to help audience identify narrative patterns, connections between characters, events and ideas

Unity: helps unify film by establishing central issues and images to which the film returns again and again.

Allows viewers recall previous moments in the film when that image or idea appeared

Allows filmmaker to help audience identify narrative patterns, connections between characters, events and ideas

Motif serves important functionsMotif serves important functions

Aesthetic Coherence: provides coherence to film’s visual style (its look and texture)

Suggests thematic meanings

Aesthetic Coherence: provides coherence to film’s visual style (its look and texture)

Suggests thematic meanings

Julio Medem used high key exposures (increased brightness) for Sex and Lucia