Superstitions Prophecy Daydream Flashback Apparitions Wishes
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Benefits of Nonlinear Storytelling in Film and Television
BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment of the Requirements for the University Honors Program Certificate Joshua Seemann Spring 2017 I, THE UNDERSIGNED MEMBER OF THE COMMITTEE, HAVE APPROVED THIS THESIS BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION BY Joshua Seemann ______________________________________________________________ Adam Moore, MFA Film and Electronic Arts California State University, Long Beach Spring 2017 Running Head: BENEFITS OF NONLINEAR STORYTELLING Abstract Screenwriters strive to create narratives that are emotionally compelling and engaging to audiences. This research explores the technique of nonlinear storytelling, focusing on what makes a film nonlinear, as well as discussing what benefits nonlinear storytelling provides to the screenwriting process. Through the analysis of three films and one television show that utilize aspects of nonlinear story structure, this study argues that linearity should be thought of as a spectrum rather than something that is categorical. In addition, this work argues that nonlinear story structure makes it easier for films to cover larger spans of time, allows screenwriters to achieve effects that would be impossible in fully linear stories, and helps writers enhance the audience’s emotional connection to scenes through implicit storytelling. This research suggests that by taking advantage of these benefits, screenwriters can create films that lend audiences an emotionally powerful viewing experience. 1 BENEFITS OF NONLINEAR STORYTELLING Benefits of Nonlinear Storytelling In Film and Television Nonlinear storytelling is a narrative technique in which the events of a story are told out of chronological order. Better understanding nonlinear story structure will help screenwriters create scripts that are more emotionally compelling than traditional linear films. -
Tenth Lecture Flashback: Significance of Flashback in Literature the Flashback in the Old Man and the Sea
Tenth Lecture Flashback: A flashback is defined as an interruption in the present of a vivid memory set in the past. There are a variety of things that can cause a flashback to occur, which include songs, food, people, places, or similar events to those in the past. Through flashbacks, we are able to reflect upon experiences we have had in life, both positive and negative, and apply them to the present. Flashback is one of the most popular literary devices used in writing . A flashback typically is implemented by: The narrator tells another character about past events The narrator has a dream about past events The narrator thinks back to past events, revealing the information only to the reader The narrator reads a letter that prompts back to an earlier time Significance of Flashback in Literature Authors use flashbacks in their works for many different reasons. One key reason is to fill in elements of one or more characters’ backstories. Flashbacks can help the reader understand certain motivations that were otherwise unclear, or provide characterization in other ways. Flashbacks can also create suspense or add structure to a story. Some authors have chosen to tell their stories entirely in flashback, such as in Homer’s Odyssey, in which Odysseus tells his story to a listener, or Joseph Conrad’s Heart of Darkness, in which the character Marlow tells his fellow sailors about a journey he once took up the Congo River. Other authors, like Kurt Vonnegut in Slaughterhouse Five and Julio Cortázar in Rayuela, choose to tell their stories completely out of chronological order. -
Amanda Schmitt in Conversation with Loretta Fahreholz, Madeline Hollander, and Monica Mirabile”, Texte Zur Kunst, December, 2019
Schmitt, Amanda. “Supernature: Amanda Schmitt in Conversation with Loretta Fahreholz, Madeline Hollander, and Monica Mirabile”, Texte Zur Kunst, December, 2019. [online] [ill.] Supernature: Amanda Schmitt in Conversation with Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile Jordan Peele, Us, 2019, film still Evil forms the background of much in the world of horror films, which have become ever more elaborate in recent years, involving complex choreography as a means to animate the undead or possessed. One unavoidable fact is that this genre has always relied on a certain chauvinism for its spectacles – from slasher flicks to supernatural horror – where the female body is frequently put under extreme physical duress, including torture and mutilation. Recently, several new horror features have been released that showcase forms of bodily dysmorphia, also featuring women. Amanda Schmitt sat down with two choreographers, and an experimental filmmaker who works with dance, to discuss these new horror films and their significance for the history of female corporeal torture in film. The discussion provides a unique behind-the-scenes look at how gesture and movement become translated into intricate arrangements for the screen. This roundtable brings together three artists – Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile – to discuss two films that both debuted in the last year: Luca Guadagnino’s remake of the cult classicSuspiria (originally inspired by the 1845 Thomas de Quincey essay and rewritten for release as a feature film directed by Dario Argento in 1977) and Jordan Peele’s original Hollywood blockbuster Us (2019). The two films have something in common: their use of choreography as both a theme and technique to depict the (often female) body in states of despicable horror. -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
Towards New Ways of Looking at Texts
Towards new ways of looking at texts Andreea Macovei1 1Faculty of Computer Science “Al.I.Cuza” University Iasi, Romania [email protected] Abstract. This paper provides an overview of my PhD thesis which in a first phase, focuses on developing an ontology which exposes the various text types, both literary and non-literary in Romanian language and in a second phase (the most complex one), on formalizing a temporal annotation scheme that can be used in order to reorder the events or more precisely, the sequences of events in novels and also, the switches that may occur in literary texts such as flashbacks, flashforwards, embedded fabulae, temporal ruptures, and transitions. The classi- fication of texts in species and genres proposed by this ontology can be used in to create suggestions for readers, to identify a certain type of text, to extract rel- evant information, to analyse the format differences between two different types of texts (as those between the normative texts and the news) as a first step in au- tomatic text writing techniques, etc., while the temporal model considers a natu- ral order of events that the reader seems to perceive once she or he continues to read or, at the end of the book despite timelines (the representation of all the events chronologically exposed in a story) and storylines (the main story or plot of a literary text) in order to capture the actions of a character and his or her chronological evolution (time track) throughout a book. Keywords: Classification of Texts, Ontology, Temporality, Temporal Annota- tion 1 Introduction The issue of genre identification can be considered as a task of resolving the problem of text classification: as for each type of text, the genre is determined together with the other species and several specific features, the texts will be classified according to a predefined list of genres. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
Literary Texts
TEXT COMPLEXITY: QUALITATIVE MEASURES RUBRIC Literary Texts LAYERS OF MEANING High Middle High Middle Low Low □ Meaning: multiple layers of □ Meaning: three or more layers of □ Meaning: at least two layers of □ Meaning: a single interpretation of simple, interpretation exist and most lean interpretation exist and include some interpretation exist largely made up of concrete meaning predominates toward complex, abstract meaning complex and abstract meaning simple, concrete meaning STRUCTURE High Middle High Middle Low Low □ Narrative Structure: complex, implicit, □ Narrative Structure: some □ Narrative Structure: largely simple □ Narrative Structure: simple, explicit, and unconventional complexities, more implicit than explicit, structure, more explicit than implicit, conventional some unconventionality largely conventional, □ Narration: many shifts in point of view □ Narration: occasional shifts in point of □ Narration: few, if any, shifts in point of □ Narration: no shifts in point of view or and/or perspective view and/or perspective view and/or perspective perspective □ Order of Events: not in chronological □ Order of Events: several major shifts in □ Order of Events: occasional use of □ Order of Events: chronological order time, use of flashback flashback, no major shifts in time □ Use of Graphics: sophisticated graphics, □ Use of Graphics: some sophisticated □ Use of Graphics: largely simple □ Use of Graphics: use of simple graphics, essential to understanding the text, may graphics, may occasionally be essential graphics, supplementary -
Screenplay Format Guide
Screenplay Format Guide Format-wise, anything that makes your script stand out is unwise. This may seem counterintuitive. Anything you do to make your screenplay distinctive is good, right? Depart from the traditional format, though, and you risk having your script prejudged as amateurish. A truly conscientious reader will overlook such superficial matters and focus on content. However, if your work looks unprofessional, it may not be taken seriously. To ensure your script gets a fair read, follow these formatting guidelines: It isn’t necessary to file a copyright with the Library of Congress. Your script is automatically protected under common law. However, it’s a good idea to register it, either with an online service, such as the National Creative Registry (protectrite.com), or with the Writers Guild. This being said, the Industry tends to view registration and copyright notices as the marks of a paranoid amateur. You would be wise to leave them off your script. Use a plain cover. White or pastel card stock, not leatherette. Avoid using screw posts or plastic-comb binding. Bind your script with sturdy, brass fasteners, such as those made by ACCOÒ. The ones Staples sells are too flimsy. Readers hate it when a script falls apart in their hands. You can order professional-quality script supplies online from WritersStore.com. Although scripts are printed on three-hole-punched paper, there’s an unwritten rule that speculative scripts are bound with two fasteners, not three. Why this tends to be common practice is unclear. Perhaps it’s because submissions often get copied by the studio’s story department, and it’s easier (and cheaper) if there are only two brads. -
The Performance of Trauma in Moving Image Art
The Performance of Trauma in Moving Image Art The Performance of Trauma in Moving Image Art By Dirk de Bruyn The Performance of Trauma in Moving Image Art, by Dirk de Bruyn This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Dirk de Bruyn All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6053-0, ISBN (13): 978-1-4438-6053-6 TABLE OF CONTENTS Acknowledgements .................................................................................. viii Abstract ...................................................................................................... ix Introduction ................................................................................................. 1 Chapter One ................................................................................................. 6 Trauma, Cinema, Feminism and Materialist Film Encounters with Caruth, Felman and Laub ............................................ 6 Towards a Trauma Cinema: Walker, Kaplan and Turim ..................... 12 Trauma Cinema (Walker) ............................................................... 12 The position of the Viewer (Kaplan) -
Strategies of Digital Surrealism in Contemporary Western Cinema by à 2018 Andrei Kartashov Bakalavr, Saint Petersburg State University, 2012
Strategies of Digital Surrealism in Contemporary Western Cinema By ã 2018 Andrei Kartashov Bakalavr, Saint Petersburg State University, 2012 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Chair: Dr. Catherine Preston Dr. Ronald Wilson Margaret Jamieson Date Defended: 27 April 2018 ii The thesis committee for Andrei Kartashov certifies that this is the approved version of the following thesis: Strategies of Digital Surrealism in Contemporary Western Cinema Chair: Dr. Catherine Preston Date Approved: 27 April 2018 iii Abstract This thesis joins an ongoing discussion of cinema’s identity in the digital age. The new technology, which by now has become standard for moving images of any kind, has put into question existing assumptions and created paradoxes from a continuity between two different media that are, however, thought of as one medium. I address that problem from the perspective of surrealist film theory, which insisted on paradoxes and saw cinema as an art form that necessarily operated on contradictions: a quality that resonated with surrealism’s general aesthetic theory. To support my argument, I then analyze in some depth three contemporary works of cinema that possess surrealist attributes and employed digital technology in their making in a self-conscious way. Leos Carax’s Holy Motors, Pedro Costa’s Horse Money, and Seances by Guy Maddin, Evan Johnson and Galen Johnson all point to specific contradictions revealed by digital technology that they resolve, or hold in tension, in accordance with the surrealist notion of point sublime.