Difference between revisions of "Beyond and Beside Narrative (Discussion)"
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==Bill Nichols' terms== | ==Bill Nichols' terms== | ||
| − | + | Explain film scholar Bill Nichols' sense of the following terms:<ref>Bill Nichols, ''Representing Reality''.</ref> | |
| − | *''historical world'' or ''historical reality'' | + | *'''Groups 1 and 2:''' ''historical world'' or ''historical reality'' |
**Why does he prefer this term to "reality"? | **Why does he prefer this term to "reality"? | ||
| − | *''social actor'' | + | *'''Groups 3 and 4:''' ''social actor'' |
**Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works? | **Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works? | ||
Revision as of 18:58, 4 September 2008
Bill Nichols' terms
Explain film scholar Bill Nichols' sense of the following terms:[1]
- Groups 1 and 2: historical world or historical reality
- Why does he prefer this term to "reality"?
- Groups 3 and 4: social actor
- Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works?
Modes of representation
Television depicts historical reality and addresses itself to the viewer about that reality through four principal "modes". Individual genres and programs are not limited to one single mode, but instead draw upon each as needed.
Providing examples from the non-narrative television viewed in class (Lobster Wars, The Daily Show, Two-A-Days, Cops, news coverage of an incident in Goražde) explain each mode:
- Group 4: Expository (or rhetorical)
- Group 1: Interactive
- Group 2: Observational
- Group 2: Reflexive
Bibliography
- Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
References
- ↑ Bill Nichols, Representing Reality.
