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A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012)

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A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) Copyright by Taehyun Cho 2014 The Thesis Committee for Taehyun Cho Certifies that this is the approved version of the following thesis: A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) APPROVED BY SUPERVISING COMMITTEE: Supervisor: Charles R. Berg Thomas G. Schatz A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) by Taehyun Cho, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication To my family who teaches me love. Acknowledgements I would like to give special thanks to my advisor, Professor Berg, for his intellectual guidance and warm support throughout my graduate years. I am also grateful to my thesis committee, Professor Schatz, for providing professional insights as a scholar to advance my work. v Abstract A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989-2012) Taehyun Cho, M.A. The University of Texas at Austin, 2014 Supervisor: Charles R. Berg Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern. Results of the study indicated that alternative narrative films strengthened viewers’ recognition by adopting multiple characters and time, intensified complex plots by combining different plot strategies, and represented the narrative intentions through the linkages of hypernarrative structure. By examining alternative narratives within the framework of hypernarrative, this study contributed to more a comprehensive understanding of alternative narratives. vi Table of Contents List of Tables ....................................................................................................... ix List of Figures ........................................................................................................x List of Illustrations ............................................................................................... xi Chapter 1 Introduction ........................................................................................1 Background of the Study and Problem Statement ........................................1 Purpose of the Study .....................................................................................4 Methodology .................................................................................................5 Chapter 2 Literature Review ...............................................................................7 Periodization .................................................................................................7 Methodology Discussions in Previous Studies .............................................8 Chapter 3 Theoretical Framework ....................................................................15 Film Narrative .............................................................................................15 Narrative in Fiction Film ...................................................................15 The Style of the Classical Hollywood Narrative ...............................18 Development of Alternative Narrative ...............................................19 Hypertext Narrative ....................................................................................22 Hypertext Norm and Attribute ...........................................................22 The Norm of Hypertext .............................................................22 The Attribute of Hypertext ........................................................24 Hypertext Structure ............................................................................26 The Structure of Exposition and Narration Discourse .......................31 The Structure of Exposition Discourse .....................................32 The Structure of Narration Discourse .......................................33 Hypertext and Film Theories ......................................................................37 Chapter 4 Hypernarrative in Fiction Film .........................................................40 The Linear Narrative: Memento ..................................................................40 Hairpin Structure ................................................................................40 vii Reversal and Recognition ..................................................................44 The Hierarchy Narrative: Eternal Sunshine of the Spotless Mind ..............48 Parallel Structure ................................................................................48 Two Dimensional Intertext ................................................................54 The Hypercube Narrative: Elephant ...........................................................59 Multiple Perspectives .........................................................................59 Repetition of Time and Transition of Perspectives ............................62 The Directed Acyclic Graph Narrative: The Red Violin .............................68 Episodic Journey ................................................................................68 Making Direction and Connection .....................................................70 The Clumped Narrative: Babel ...................................................................76 Various Stories for One .....................................................................76 Crossing Dimensions and Indicators .................................................80 The Arbitrary Narrative: Pulp Fiction ........................................................86 Decentralization and Chaotic Time ...................................................86 Adoption of Anti-traditional Narrative ..............................................92 Chapter 5 Conclusion ........................................................................................98 Appendix A The Information of the Films .....................................................105 Appendix B The Principles of Linearity .........................................................107 Glossary .............................................................................................................108 References ..........................................................................................................110 viii List of Tables Table 1: The Flow of Narrative and Non-narrative ......................................45 Table 2: The Pattern of Story in Babel ..........................................................79 ix List of Figures Figure 1: The Linear Structure .......................................................................26 Figure 2: The Hierarchy Structure ..................................................................27 Figure 3: The Hypercube Structure ................................................................28 Figure 4: The Directed Acyclic Graph Structure ...........................................29 Figure 5: The Clumped Structure ...................................................................29 Figure 6: The Arbitrary Structure ...................................................................30 Figure 7: Discourse and Story Lines 1 ...........................................................34 Figure 8: Discourse and Story Lines 2 ...........................................................35 Figure 9: Discourse and Story Lines 3 ...........................................................35 Figure 10: Existing/Potential Discourse and Story Lines .................................36 Figure 11: The Structure of Memento’s Plot ....................................................42 Figure 12: The Generation of Memento’s Plot by Hairpin Turn ......................43 Figure 13: Parallel Structure .............................................................................49 x List of Illustrations Illustration 1: Sammy Jankis and Leonard Shelby’s Stories ...........................44 Illustration 2: Visualization of Two Heterogeneous Dimensions ...................55 Illustration 3: Visualization of Deleting Joel’s Memory .................................57 Illustration 4: Multiple Points of View about the Event 1 ...............................64 Illustration 5: Multiple Points of View about the Event 2 ...............................65 Illustration 6: The Tarot Card, the Episode and the Auction ...........................71 Illustration 7: Different Angles at the Introduction of the Red Violin ............74 Illustration 8: Connecting Clues among the Dimensions of Four Stories .......82 Illustration 9: Time Indicators .........................................................................90 Illustration 10: Foregrounding Scenes ...............................................................94 Illustration 11: The Same Situation
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