Difference between revisions of "JCM312/Narrative Structure"
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==Classical Hollywood cinema== | ==Classical Hollywood cinema== | ||
''Television'' discusses seven principal characteristics of classical Hollywood cinema: | ''Television'' discusses seven principal characteristics of classical Hollywood cinema: | ||
| − | #Single protagonist | + | #'''G1''': Single protagonist |
| − | #Exposition | + | #'''G1''': Exposition |
| − | #Motivation | + | #'''G2''': Motivation |
| − | #Narrative enigma | + | #'''G2''': Narrative enigma |
| − | #Cause-effect chain | + | #'''G3''': Cause-effect chain |
| − | #*''Story time'' versus ''screen time''--in terms of duration and order | + | #*'''G3''': ''Story time'' versus ''screen time''--in terms of duration and order |
| − | #Climax | + | #'''G4''': Climax |
| − | #Resolution/Denouement--compare exposition and denouement | + | #'''G4''': Resolution/Denouement--compare exposition and denouement |
| − | Does ''Day for Night'' qualify as a classical film? Why or why not? | + | Does ''Day for Night'' qualify as a classical film? Why or why not? Explain how the characteristics above are (or are not) used in the film. |
{{Gallery | {{Gallery | ||
|title=''Day for Night'': beginning and ending.[http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/index.htm] | |title=''Day for Night'': beginning and ending.[http://www.tcf.ua.edu/Classes/Jbutler/T340/DayForNight-OpenClose/index.htm] | ||
| Line 29: | Line 29: | ||
#Action | #Action | ||
| − | How are these signs of character used to construct the characters in ''Day for Night''? | + | How are these signs of character used to construct the following characters in ''Day for Night''? |
| + | *'''G1''': Alphonse | ||
| + | *'''G2''': Liliane | ||
| + | *'''G3''': Ferrand | ||
| + | *'''G4''': Julie | ||
| + | |||
{{Gallery | {{Gallery | ||
|title=''Day for Night'' Character Construction | |title=''Day for Night'' Character Construction | ||
| Line 43: | Line 48: | ||
}} | }} | ||
==Signs of performance<ref name="Dyer" />== | ==Signs of performance<ref name="Dyer" />== | ||
| − | #Vocal | + | #'''G1''': Vocal |
| − | #Facial | + | #'''G2''': Facial |
| − | #Gestural | + | #'''G3''': Gestural |
| − | #Corporeal | + | #'''G4''': Corporeal |
==''Day for Night'' cast== | ==''Day for Night'' cast== | ||
Revision as of 13:25, 26 August 2014
Classical Hollywood cinema
Television discusses seven principal characteristics of classical Hollywood cinema:
- G1: Single protagonist
- G1: Exposition
- G2: Motivation
- G2: Narrative enigma
- G3: Cause-effect chain
- G3: Story time versus screen time--in terms of duration and order
- G4: Climax
- G4: Resolution/Denouement--compare exposition and denouement
Does Day for Night qualify as a classical film? Why or why not? Explain how the characteristics above are (or are not) used in the film. Template:Gallery
Signs of character[1]
- Viewer foreknowledge
- Character name
- Appearance
- Objective correlative
- Dialogue
- Lighting and videography or cinematography
- Action
How are these signs of character used to construct the following characters in Day for Night?
- G1: Alphonse
- G2: Liliane
- G3: Ferrand
- G4: Julie
Signs of performance[1]
- G1: Vocal
- G2: Facial
- G3: Gestural
- G4: Corporeal
Day for Night cast
- Jacqueline Bisset as Julie
- Valentina Cortese as Severine
- Dani as Liliane
- Alexandra Stewart as Stacey
- Jean-Pierre Aumont as Alexandre
- Jean Champion as Bertrand
- Jean-Pierre Léaud as Alphonse
- François Truffaut as (Director) Ferrand
- Nathalie Baye as Joelle
- David Markham as Doctor Nelson
- Zénaïde Rossi as Madame Lajoie, Gaston's wife
- Xavier Saint-Macary as Christian, Alexandre's lover
- Bernard Menez as the Property Man
References
Bibliography
- Jeremy G. Butler, Television: Critical Methods and Applications (New York: Routledge, 2012).
- David Bordwell and Kristin Thompson, Film Art: An Introduction, 9th ed. (New York: McGraw-Hill, 2010).
External links
- Frame grabs from Day for Night.
- Wes Anderson American Express Commercial (Day for Night parody, password protected)
- TV Tropes: listing of numerous narrative conventions.
