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Aspects of Narrative Production and story elements combine to convey a narrative to an audience. Below are a range of aspects of narrative that must be considered when analysing a film narrative. For each of the dot points below there are a number of technical terms which film buffs use to describe their understanding or 'reading' of a film text. We allow ourselves as the audience to enter a film narrative through a device known as the 'suspension of disbelief'. Once disbelief is suspended we can embark on the narrative journey with the filmmaker whilst often simultaneously critiquing the narrative we are experiencing, a very subtle and complex yet pleasurable process. 1. Storyline The plot may be linear or non linear, it may include subplots which may run parallel to, comment on or intersect with the main narrative. 2. Opening Introduces the narrative in film or TV. The opening usually contains a lot of information which sets up the narrative and establishes time, place, location, mood and often the important characters in the narrative. The opening establishes a range of narrative possibilities for the text to explore and develop. The opening sequences invites the audience into the narrative. 3. Closure The closing sequence finishes off the story, resolving the narrative possibilities established throughout the text, tying up loose ends and allowing the audience to leave the narrative. There will often be an image which is similar to the opening images in order to close the cycle of the narrative. 4. Conflict A narrative needs conflict and in film there is usually one main conflict and several minor conflicts. Conflicts are introduced in the form of problems or questions. One way to view the development of conflict in a narrative text is to see it as: equilibrium ---- problem ---- disequilibrium ---- resolution ---- new equilibrium 5. Cause and effect A story element which allows the narrative to proceed. 6. Climax The most intense moments of the conflict established in the narrative. The climax is usually, but not always, the most suspenseful part of the story. Often smaller climaxes build to the major one. 7. Resolution and denouement All conflicts are resolved one way or another although some may allow for the possibility of a sequel. The denouement ties up loose ends and allows the audience to extract itself from the narrative experience. 8. Genré The type of film, for example westerns, sci-fi, film noir, horror. Over time each genré builds up a set of rules, short cuts and traditions- codes and conventions- which allow an audience to 'read' a film within that genré. It can be assumed that a filmmaker working within a genré has a good knowledge of the films within that genré that have come before. Each film develops the genré in a manner appropriate to the time and place of production. Genrés that cannot adapt to current values wane in popularity and can become clichéd. 9. Setting The place where the narrative takes place. The setting affects how we interpret the story of the narrative. 10. Character Characters are established through such production elements as costume, make up, acting, props, and through characters' relationships with other characters. 11. Time In film time is manipulated in order for the narrative to be possible within the timeframe of the film. Conventions such as fade to black, day to night, changed locations, season changes, flashbacks and flash forwards, and aging of characters indicate that time has passed. Parallel action is also a form of time manipulation. 12. Framing and visual composition The framing of a shot is a visual cue to an audience about how to read the action. Generally speaking the tighter the framing, the more involved the audience is invited to be with a character. Objects that are tightly framed are important to a narrative. 13. Mise en scene Everything within the scene is constructed to convey meaning. 14. Point of view The camera angle from which the narrative is shot. The audience sees what the character sees and hears what they hear. This may contribute to or detract from audience sympathy but always adds depth to understanding. 15. Theme An underlying issue with which the narrative deals. 16. Audience Traditional schools of film study see the film as a text which may be analysed but for which the meaning of the narrative is set. Postmodern film analysis holds the meaning of every aspect of each text as open to interpretation by the audience. This interpretation will vary depending on the audience's experience and expectations. The viewing context is also important to the construction of meaning. 17. Sound May be diegetic, that is contained within the scene: dialogue, background sound, music from a source within the scene or non-diegetic, that is added for effect such as voiceovers, FX, music not from a source within the narrative, heartbeats, etc. 18. Acting and actors The choice of actor and how they convey a scene contribute to the narrative. 19. Editing and vision mixing Conveys rhythm, tension, mood, meaning. 20. Lighting Establishes and maintains what the audience can see of and how they interpret the narrative. Colour is a strong symbolic element within film. 21. Costume, make up and set design Allows the audience to 'read' the location and character, in particular character development. 22. Location Not only grounds the storyline but also contributes to our interpretation of character motivation. Actions which may be acceptable in one location may be interpreted quite differently in another. 23. Special effects (FX) These may be visual and/or aural. FX may be so commonly used so as to be almost invisible or they may be a feature of the narrative construction. 24. Production values High budget films are often slicker, more seamless than low budget films where the technical aspects of the construction of the film many be more obvious. Production values influence audience interpretation of the narrative. Aspects such as the choice of film stock and soundtrack are related to production values. Copyright © 2001 Jo Flack and Estelle Fookes