Relevant bibliographies by topics / Film narrative analysis

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film narrative analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Film narrative analysis"

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Bature-Uzor, Nkechi Asiegbu. "Mise-en-scene and authenticity in Kunle Afolayan’s October 1." AFRREV IJAH: An International Journal of Arts and Humanities 7, no. 3 (2018): 41–54. http://dx.doi.org/10.4314/ijah.v7i3.5.

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Illusive realism is the hallmark of film narratives and it is achieved in film production through appropriate composition of narrative elements in film shots and sequences. These elements constitute the mise-en-scene and their purpose is geared towards authenticating the narrative, while offering the basis for the interpretations and meanings given it. This study examines Kunle Afolayan’s October 1, focusing on the significant role played by mise-en-scene in carrying the thematic thrust through the use of realistic sets, props, costumes and make-up. It hinges on the analysis of these elements to understand their role in the signification of the period in the narrative. Using semiotic principles, it analyses these elements as signs denoting and connoting a certain period in Nigerian history. This study also emphasizes the semiotic readings of mise-en-scene in Nollywood films to tinge out relevant meanings encoded in the composition of images in film narratives. It is also expected to guide the Nigerian filmmaker towards accuracy in the use of mise-en-scene. It is hoped that film makers will create believable illusions of reality using the narrative elements that can best support the narration.Keywords: Mise-en-scene, Narrative, Props, Costume, Set, Make-up
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Ağın, Besna. "An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan." Etkileşim 2, no. 4 (2019): 220–35. http://dx.doi.org/10.32739/etkilesim.2019.4.71.

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Involved in filmmaking more than four decades, Elia Kazan had been a witness and an influence for significant change in the American film industry. His final phase includes four films, respectively, America America, The Arrangement, The Visitors and The Last Tycoon which are his most neglected films in film studies, compared to his previous successful films such as On the Waterfront, A Streetcar Named Desire, East of Eden and Splendor in the Grass. This study has focused on one of his late films for mainly two reasons; to fill the gap in the literature and present an analyses of Kazan’s most structurally different film regarding its narrative complexities with the concept of realism. Realism is one of the key concepts to study Kazan in the research field, but distinctively, I have tried to find the realism within the mise-en-scène and ambivalence in the narrative.
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Dakovic, Nevena. "Cinematic narratives of Sonderkommando: Son of saul or narrating the victim, perpetrator, trauma and death." Temida 19, no. 3-4 (2016): 477–92. http://dx.doi.org/10.2298/tem1604477d.

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The aim of this paper is to map out - by analysing the film Son of Saul, but also by its comparison with two other films dealing with the topic, Himmelkommando and The Grey Zone, the narrative mechanism that satisfies the complex ethical and aesthetical demands imposed by the theme of Sonderkommando as the particular episode of the Holocaust. The key element of the narrative structure is the construction of the Levi?s ?dead and drowned? witness who ?resurrected? through the narrative intervention becomes the only reliable and credible narrator of the historical trauma. The prerequisite for his emergence is the narration and representation of the death which makes but also solves the traumatised - understood as multiple, fragmented, opposed - identities of the members of the special squad. Their entangled identity involves the simultaneous presence of a victim, perpetrator, witness and the authentic narrator of the trauma of the death camp. The death of the perpetrator is the condition sina qua non for the emergence of the figure of the victim-witness narrator but also for making of narrative which overcomes the initial trauma of the Holocaust. The detailed analysis of the film Son of Saul confirms and identifies these narratives as the modernist narration of the post-traumatic film.
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Oenning da Silva, Rita de Cácia. "Quem conta um conto aumenta muito mais que um ponto: narrativa, produção de si e gênero na produção fílmica com crianças pequenas." Perspectiva 33, no. 3 (2016): 1069–88. http://dx.doi.org/10.5007/2175-795x.2015v33n3p1069.

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Analisando as performances narrativas do conto Chapeuzinho Vermelho de três crianças pequenas (2 a 4 anos de idade) frente à câmera filmadora, este artigo apresenta e discute o modo como essas narrativas tanto expressam quanto constituem o mundo e os sujeitos narradores. Variando na forma narrativa, no conteúdo e nos personagens clássicos do conto, essas performances narrativas revelam como as crianças narradoras entendem e dinamizam relações: entre seus pares (atentando especialmente para as relações de gênero – gender); com outros seres (imaginários ou não); e com o próprio gênero narrativo. A análise aponta para como, através dessas narrativas, estão testando possibilidades (de e entre seres, de linguagens, de fórmulas narrativas, de interação e estética). Chama-se a atenção para a capacidade transformativa e criativa presente nas performances narrativas de crianças pequenas e do aspecto filosófico do seu pensamento. Dessa forma, narrando frente à câmera e à plateia, fazem-se sujeitos: produzem a si mesmas e o mundo. More then just telling tales: narrative, self production and gender/genre in film production with small children AbstractThrough an analysis of the narratives of three small children playing with a video camera, the article presents and discusses the way that small children both express and produce themselves. As they vary the narrative form, the plot, and the characters of Little Red Riding Hood, these children's performances reveal how they understand and catalyze relations with their peers (especially subverting gender relations), with other beings (human, animal, imaginary beings etc.), and with narrative genre. Through these narratives they test the possibilities of beings, of interaction, and of language, opening a range of possibilities for an aesthetic of self. Based on an extensive background of film production with children, I point out the philosophical aspects of this production, showing how the performative and creative capacity of children open a space where they represent them selves. Narrating for the camera or for an audience, these children turn themselves into social subjects, thus producing themselves and the world.Keywords: Small Children. Narrative Performance. Digital Media. El cuento va más allá de lo contado: la narrativa, la producción de sí mismo, y el género en la producción cinematográfica con niños pequeños ResumenAnalizando de las narrativas de Caperucita Roja contadas por tres niños pequeños (2-4 años) en frente de la videocámara, este artículo presenta y discute cómo estas narrativas tanto expresan el mundo y como constituyen a sus narradores como sujetos. Estas actuaciones narrativas revelan cómo los pequeños narradores entienden y crean relaciones: entre pares (con especial atención a las relaciones de género); con otros seres (de ficción o no); y con su propio género narrativo. Los análisis apunta a las posibilidades de cómo, a través de estos relatos, están probando posibilidades (entre los seres, los idiomas, las fórmulas narrativas, la interacción y la estética). Llama la atención sobre la capacidad transformadora y creativa de este interpretaciones narrativas de los niños pequeños y el aspecto filosófico de su pensamiento. Por lo tanto, haciendo la narración delante de la cámara y del público, se convierten en sujetos: producen ellos mismos y el mundo.Palabras claves: Primera Infancia. Narrativa. Género.
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Choi, Sun Wha. "“Fight Club - Film Narrative Structure Analysis.”." Journal of Modern British and American Language and Literature 33, no. 2 (2015): 195. http://dx.doi.org/10.21084/jmball.2015.05.33.2.195.

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Santyaputri, Lala, Olivia Nursalim, and Catherine Karenina. "Eksplorasi Visual Naratif Indonesia-Tionghoa dalam Film Karya Mahasiswa." DESKOMVIS: Jurnal Ilmiah Desain Komunikasi Visual, Seni Rupa dan Media 1, no. 1 (2020): 46–55. http://dx.doi.org/10.38010/dkv.v1i1.6.

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Indonesian-Chinese in Indonesian films rarely become the main subject of the narrative and even still marginalized. Marginalization in Indonesian-Chinese looks back at the Indonesian history, which doesn’t provide the similar space as other Indonesian citizens. The development of Indonesian films now gives new space to new filmmakers, especially those academicaly speaking graduated from film schools. Narative and visual analysis was carried out on two works on Indonesian-Chinese by using a narrative research methodology with a qualitative approach. Stages of research conducted by the director will be the starting point in this research, especially in studying history. The research objects of these studies taken the biopic documentary "Lebih Cina dari Tionghoa" (2019), and the fiction genre film "Bulikan"(2019). These two films represent present-day and Indonesian-Chinese representations. This research is a study of representation on the visualization and narration of film by young generation.
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Ganzha, Anhelina. "Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)." Culture of the Word, no. 90 (2019): 150–64. http://dx.doi.org/10.37919/0201-419x-2019.90.13.

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Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).
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Utomo Hadibroto, Joko. "Anomalus dan Brand Aura Karakter Superhero Pada Film Gundala: Analisis Struktur Naratif." CoverAge: Journal of Strategic Communication 10, no. 1 (2019): 37–45. http://dx.doi.org/10.35814/coverage.v10i1.1231.

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This research or analysis uses Vladimir Propp's narrative structure analysis of the genre of superhero film titled Gundala, which is based on Indonesian comics. Gundala is a superhero character or hero who has supernatural powers that come from the energy of lightning. Through the power of his lightning energy, Gundala as a hero is able to defeat villain as a criminal. This is the narration presented from the film Gundala. Thus, the use of the concept of narrative structure aims to reveal the role and position of each character in the frame of binary opposition. Next, an understanding of his supernatural powers was analyzed using the concept of anomalous categories from Claude Levi-Strauss. Furthermore, the film Gundala has its appeal in presenting the narratives of the characters. Both superhero and villain characters. Related to that, the use of the concept of brand aura aims to find an element of attraction for the characters of the shop for the cinema audience.
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Ilić, Vladana. "Dystopia-En-Abyme: Analysis of The Lobster’s Narrative." Issues in Ethnology and Anthropology 12, no. 2 (2017): 467. http://dx.doi.org/10.21301/eap.v12i2.6.

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The paper analyzes the dystopian narrative of the film The Lobster (2015, dir. Y. Lanthimos) as a political act. Rather than strictly focusing on what the film exposes as problematic (romantic and sexual relationships, emotional intelligence, and love in general), the analysis examines how this problem is presented through its dystopian vision, its narrative’s trajectory and characters’ actions, with what kind of critical potential these are endowed and consequently, what kind of political message the film communicates. It does so by looking more closely at three important narrative elements of the textual dystopia: the space of the film, the protagonists, and the language. Lastly, it examines the interpretative possibilities of its open-ended structure. The analysis aims to show that the film resembles abysmally looping narrative structures through which it acquires an enclosed mythological quality that debilitates any agential potentials of the narrative, fails to provide a utopian impulse, and consequently ends up supporting status quo.
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Blackwell, Sarah E. "What’s in a pear film narrative?" Spanish in Context 6, no. 2 (2009): 249–99. http://dx.doi.org/10.1075/sic.6.2.05bla.

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This study examines twenty pear film narratives (Chafe 1980), produced by native speakers of Castilian Spanish, following the ‘frames/schema’ model used by Tannen and Wallat (1993) in their study of a medical examination/interview. By analyzing the narratives in terms of interactive frames (originally defined by Bateson 1954) and knowledge schemas, we can see how frames and schemas interact and how participants’ expectations influence framings. Using a discourse-analytical approach, I show how various linguistic elements in the discourse convey (implicitly or explicitly) the speakers’ framings (i.e. the activities they are participating in when speaking) and their expectations about the study itself, films, elements in the pear film and their perceived roles when speaking. Segments of the discourse can convey simultaneous (merged) framings or sequential framings. The analysis shows that in order to fully account for the discourse produced during the Spanish narrators’ retelling of the pear film, we must take into consideration the participants’ underlying knowledge schemas resulting from their cultural experiences living in a rural town in Spain, the influence of and assumptions about the situation in which they find themselves and about the activity they are participating in, and the fact that the narrative discourse is co-constructed as an interactive conversational activity with interlocutors who are family members or friends of the narrators.
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Dissertations / Theses on the topic "Film narrative analysis"

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Duncan, Dean William. "Classical music in narrative film : strategies for use and analysis." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/9082/.

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The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.
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Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.

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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.<br>Arts, Faculty of<br>Theatre and Film, Department of<br>Graduate
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Alkhas, Marduk. "A comparative narrative analysis of Rambling rose : the novel and the film /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9809677.

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Ditlevsen, Christoffer Moe, and Martin Björkman Čehovin. "Den dramatiska kraften i filmmusik, Filmmusikens dramatiska vikt i modern media." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1917.

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När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrative<br>Detta är en reflektionsdel till en digital medieproduktion.
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Moore, Abigail. "With Great Power: A Narrative Analysis of Ethical Decisions in Superhero Films." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558570.

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Media & Communication<br>M.A.<br>This study examines ethical decision-making processes as practiced by the cultural mythic hero of our time: the superhero. This study conducts a rhetorical narrative analysis of three key superhero films (The Dark Knight, Captain America: Civil War, Avengers: Infinity War) to locate moments when superhero characters make ethical decisions. The study evaluates their decision-making process using three ethical frameworks selected for their popularity in ethics courses as well as their relevance to the subject material; deontology, virtue ethics, and utilitarianism. Superheroes are famous for doing ‘the right thing’, and the purpose of this study is to determine to what degree these films function as an ethics education tool for the public which consumes them. In other words: do these films have a potential to instruct the viewer in answering ‘what is right’? This study looks closely at the ethical decision-making process in superhero films and determines the ways in which superhero films may indicate a potential for teaching ethical theory when these characters make the moral decisions for which they are famed. This study determined that utilitarianism and virtue ethics are both highly visible in superhero films, but rather than serving as a medium for learning, these films build and glorify a cult of personality. Ultimately, these films create messages which encourage the viewer to blindly accept ethical decisions made by the powerful, and to tolerate – and even crave – a tyrannical ruler. Because of the cultural impact these films have, a propagandistic message like this reaches millions of people, and it is vital to understand what the contents of that message are.<br>Temple University--Theses
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Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.

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In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.
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Nixon, Elizabeth A. "Money, film and narrative : a study of the role of money in the production of filmed narrative." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/84.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>English
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Schweitzer, Dennis Christopher. "Ton & Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.

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Gustafson, Fredrik. "Elicitation of emotions in advertising film : Analysis of the emotional response regarding different lengths of an emotionally based narrative commercial." Thesis, Högskolan Dalarna, Institutionen för kultur och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-36789.

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In a world that is moving towards more mobile viewing, and shorter ad formats –the filmmaker must adapt. A lot of advertisers now ask for video which is originally created for a longer format, to be adapted into a shorter format. But how much of the emotional impact is lost when adapting an emotionally based narrative commercial? This study aims to find out what the difference in emotional response is regarding different lengths of the same emotionally based narrative video. The author edited an already finished emotionally based narrative commercial video into two new, shorter versions. The process is documented and presented. These three videos were then shown to volunteers, alongside questions regarding their emotional state before and after. When analyzing the data gathered from the questionnaire it was clear that the emotional response differed from the various videos. The original video omitted the largest emotional response, and the shortest video omitted the lowest amount of emotional response. It seems that when adapting an emotionally based narrative video into a shorter format, some aspects of the video get lost. In turn, the emotional response of the viewers will be impacted.
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Weir, Charissa. "Investigative Documentary as Critique? Understanding the Role of Narrative in the CBC Fifth Estate Documentaries on the Ashley Smith Case." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32794.

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This thesis uses approaches adapted from narrative analysis to provide a detailed examination of the two CBC Fifth Estate documentaries on the case of Ashley Smith (Behind the Wall, 2010; Out of Control, 2010). In particular, it considers how different voices and pieces of evidence are brought together to construct coherent documentary narratives and contextualizes these narratives within broader feminist criminological discourse. This project develops the concepts of ‘internal’ and ‘external’ coherence and considers how attempts to maintain coherence influence the way the Smith case is presented in the documentaries. Drawing on Foucault’s (1976) discussion of subjugated knowledge, this project explores how the process of creating a coherent narrative necessitates the subjugation of controversial knowledge. By juxtaposing the arguments in the documentaries against those of feminist criminology, the findings reveal how attempts to formulate a critique of Canadian prisons that appeals to a national audience subjugates feminist critique.
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Books on the topic "Film narrative analysis"

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Narrative in fiction and film: An introduction. Oxford University Press, 2000.

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Turvey, Sarah. Barthes' S/Z and the analysis of film narrative: 'the Searchers'. University of London Institute of Education, 1985.

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Lothe, Jakob. Fiksjon og film: Narrativ teori og analyse. Universitetsforlaget, 1994.

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Nakagawa, Kunihiko. Narratologie formelle du film: Principes et analyses des films de Rozier, de Truffaut et de Robbe-Grillet. Editions de Gyosei, 1994.

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National fictions: Literature, film, and the construction of Australian narrative. 2nd ed. Allen & Unwin, 1993.

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National fictions: Literature, film, and the construction of Australian narrative. Allen & Unwin, 1986.

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Nada, una novela, una película: Análisis comparado de modos de representación. Productora Andaluza de Programas, 1992.

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Happily ever after: Fairy tales, children, and the culture industry. Routledge, 1997.

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Cinema e conversazione: L'interpretazione del film narrativo. Prospettiva, 2006.

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Narrative pleasures in young adult novels, films, and video games. Palgrave Macmillan, 2011.

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Book chapters on the topic "Film narrative analysis"

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Wang, Chia-Wei, Wen-Huang Cheng, Jun-Cheng Chen, Shu-Sian Yang, and Ja-Ling Wu. "Film Narrative Exploration Through the Analysis of Aesthetic Elements." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/978-3-540-69423-6_59.

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Hong Lip, Paul Chi, and Emil Ka Leung Li. "Investigating Hong Kong Form 6 Students’ Perceptions towards Their Development of Critical Thinking Skills with Narrative Analysis Activities with Film." In Hybrid Learning. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14657-2_17.

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Svandrlik, Rita. "Il tempo non lineare in Esterno giorno – Val Rosandra di Claudio Magris e in La gita delle ragazze morte di Anna Seghers." In Biblioteca di Studi di Filologia Moderna. Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.08.

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In Anna Seghers’ short story, Gita delle ragazze morte (1943-1944) and in Claudio Magris’ Esterno giorno – Val Rosandra (1982), a group of high school friends and their trip on the eve of World War I provide the narrative nucleus around which individual micro-histories meet macro-history. In the proposed analysis, the reason for the deprivation is identified as an element common to the two texts. In Seghers’ story, the temporal distance is cancelled out in a continuum, whereas Magris’ story operates through multiplication and fading between different typologies of texts: novel, screenplay, film, Goethe’s Faust, and short story.
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Tseng, Chiao-I. "Truthfulness and Affect via Digital Mediation in Audiovisual Storytelling." In Beyond Media Borders, Volume 1. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_5.

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Abstract This chapter investigates different ways in which the film techniques of digitally mediated images—such as found footage, diegetic camera, and computer screen—achieve story truthfulness and affective engagement in the viewer’s narrative interpretation process. The pursuit of truthful storytelling is to demonstrate objective facts, while mediated images in film are predominantly subjective. The chapter starts by reviewing the perennial paradox of two seemingly mutually exclusive narrative functions and then tackles the paradox by proposing a multi-leveled framework, synthesizing semiotic conceptualization and cognitive research findings. It also analyzes the various forms of digital mediated images in films over the last two decades and sheds light on how the functions of truthfulness and affective engagement can be closely intertwined rather than in conflict.
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Bednarek, Monika. "Corpus-Assisted Multimodal Discourse Analysis of Television and Film Narratives." In Corpora and Discourse Studies. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137431738_4.

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Lutas, Liviu. "Metalepsis in Different Media." In Beyond Media Borders, Volume 2. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49683-8_6.

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Abstract The generally acknowledged definition of metalepsis excludes the existence of metalepsis in other media than literature. Therefore, one of the aims of the chapter is to analyse the transmediality of metalepsis; that is, its potential to be employed in various media. Based on a number of different specific media products (from the media types of literature and film), the author analyses closely how metalepsis can depend on the modalities of different media. He argues that one can create metalepsis in other ways than only using a narrator’s voice. This is because one can expand the notion of narrative levels, which seems indispensable in the case of metalepsis, to representational levels. Defining metalepsis based on representation rather than narrative voice allows for the study of metalepsis in other media types, of which film is one example.
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"Combining different methodologies in visual narrative analysis." In Jungian Film Studies. Routledge, 2016. http://dx.doi.org/10.4324/9781315622231-13.

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Redmond, Sean. "Textual Analysis." In Blade Runner. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0007.

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This chapter discusses textual analysis as the best way to get to understand how a film produces meaning. It points out how close textual analysis enables the critical reader to get beneath the skin of the film by breaking it down into its main sequences or scenes, which reveal its formal, narrative structures, its pleasures, and its ideological messages. It also talks about close textual analysis that involves the assessment or deconstruction of shot, lighting, setting, performance, sound, editing, plot, and narrative. The chapter focuses on the close textual analysis of an early scene from Ridley Scott's Blade Runner, which occurs at approximately 7 minutes into the film that shows Leon's cold-blooded shooting of Holden. It describes Blade Runner's scene that begins with a long, panoramic aerial shot of the futuristic metropolis.
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Ogawa, Yukiko. "Fact, Narrative, Visualization as Fiction, and Love." In Computational and Cognitive Approaches to Narratology. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0432-0.ch013.

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This chapter's subject matter is “The Land of Hope”, a Japanese film inspired by facts. The primary aim is to apply structural analysis of narrative, a method commonly used for natural language text, to film, which is an audiovisual text. This research will adopt methods for decomposing the film into component units and rules for linking them that are appropriate to the physical/representational characteristics of the medium, and propose a procedure for visualizing the narrative structure using a single diagram. The second aim is to sketch the aspects of narrative content that structural analyses – which only regard its formal aspects – overlook, supporting the argument with knowledge from film cognition research and by focusing on particular themes. This chapter's research deals with a practical simulation that analyzes a film's form and content with an integrated approach, and advocates the methodology that is applicable to any film in principle.
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Conference papers on the topic "Film narrative analysis"

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Xu, Rui. "Analysis of the Role of Music in Film Narrative." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.11.

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Sun, Mingyue, and Xinlin Gao. "Analysis on the Narrative Structure of the Puzzle Film “Deep in the Heart”." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.047.

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Saputra, Steven, and Riris Loisa. "Character Maturing in Storytelling: A Narrative Analysis of The New Found Commercial Short Film." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.137.

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Fearghail, Colm O., Sebastian Knorr, and Aljosa Smolic. "Analysis of Intended Viewing Area vs Estimated Saliency on Narrative Plot Structures in VR Film." In 2019 International Conference on 3D Immersion (IC3D). IEEE, 2019. http://dx.doi.org/10.1109/ic3d48390.2019.8975990.

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Boone, Veronique Joanna, and Denis Derycke. "Analyse architecturale, modélisation 3D et narration filmique : un regard original sur quelques objets corbuséens." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.764.

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Abstract: To analyze Le Corbusier's work through 3D digital modeling constitutes an important issue for the dissemination of the legacy of this major architect. During an analytical process, a relevant use of contemporary graphic means associated to an understanding of the codes of architectural representation allows to reveal new issues, or new points of view. When linking the graphic production of such process to film narrative and to the codes of documentary film, one obtain singular documents: short-movies based on computer generated images that support an analytical and critical thought, but also present projects under a new visual expression; didactic and descriptive. Those documents become particularly interesting when it comes to highlighting obscure architectural heritage, or to give body to projects remained on paper. With the support of the Fondation Le Corbusier, some Master architecture students investigated Belgian projects of the work of Le Corbusier, from which only two were built and no more than one remains. Through precise methodological issues, this paper accounts for the knowledge that such productions can offer on sometimes less-known architectural objects from the Swiss master.Resumen: Analizar las obras arquitectónicas de Le Corbusier, a través la modelización 3D, constituye un desafío importante de difusión del legado de este gran arquitecto. Mediante el proceso analítico, un uso pertinente de los medios contemporáneos de representación gráfica asociados a una comprensión de los códigos de representación arquitecturales permite de establecer nuevas perspectivas y problemáticas poco tratadas. Cuando acoplamos la producción gráfica, creada por este tipo de proceso analítico, a la narración cinematográfica y a los códigos del cine documental, obtenemos documentos singulares : cortometrajes dentro de imágenes digitales que sostienen un propósito analítico y critico, pero que su vez presentan también los proyectos arquitectónicos bajo una nueva expresión visual, didáctica y descriptiva. Estos documentos pueden revelarse particularmente interesantes cuando se trata de valorizar un patrimonio arquitectural desconocido, o de ofrecer un cuerpo solido a los proyectos yacidos en hojas de papel. Con el apoyo de la Fundación Le Corbusier, los estudiantes de Master de arquitectura se interesaron a los proyectos belgas de los trabajos diseñados por Le Corbusier, de los cuales solo dos han sido construidos y solo uno permanece en pie. Mediante cuestionamientos metodológicos precisos, este articulo relata el conocimiento que este tipo de producciones pueden ofrecer sobre los objetos arquitectónicos menos conocidos del gran maestro suizo. Keywords: Le Corbusier, architectural analysis, 3D modelisation, photography, short film, Belgium.Palabras clave: Le Corbusier, análisis arquitectónico, modelización 3D, fotografía, cortometrajes, Bélgica. DOI: http://dx.doi.org/10.4995/LC2015.2015.764
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Meijuan, Zhao, Ang Lay Hoon, Florence Toh Haw Ching, and Sabariah Md Rashid. "Translating space from Chinese to English: A Case Study of Cao Wenxuan’s Bronze and Sunflower." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.5-2.

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Translated children’s works from English to Chinese have flooded China unprecedentedly since the end of the 19PthP century. However, there is a discrepancy in the translation of Chinese children’s works into the English language. This is maybe because western scholars are still largely ignoring Asian texts for young readers. Therefore, the research aims to fill the gap in the scholarship by studying the translated Bronze and Sunflower, which is a renowned work written by the Chinese first Hans Christian Anderson winner Cao Wenxuan, from the aspect of narrative space. A qualitative approach is adopted to compare the similarities and differences of narrative space between the source text and the target text. The samples will be taken from Cao Wenxuan’s Bronze and Sunflower and its English translation. The textual analysis is illuminated through the narratological framework, which is based on three-layered space: The topographic level, the chronotopic level and the textual level. The study explores how narrative space is constructed in the process of translating Bronze and Sunflower. It is hoped that the findings of the study will show how space is created in a different languagea, and that the translator prefers to change the narrative space rather than keeping the same spatial structure in the target text.
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Chang, Yuh-Shihng, and Yan-Hong Chen. "The Analysis of Animation Narration for Short Animation – The Short Film: CARN." In 2018 IEEE International Conference on Advanced Manufacturing (ICAM). IEEE, 2018. http://dx.doi.org/10.1109/amcon.2018.8614758.

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Corbí-Sáez, María Isabel. "Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.

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La cinécriture d’Agnès Varda a transgressé bien des barrières et ouvert de nouveaux chemins dans le septième art. Les plages (2008) – qui suppose son « adieu » définitif à la « caméra voyageuse » – constitue bien un exemple de récit d’art et d’essai, complexe, créé comme une espèce de collage, à effet de kaleidoscope, où la réalisatrice offre un jeu narratif filmique prolixe qui séduit et attrape le lecteur spectateur complice. Ce film s’avère d’un intérêt spécial car si, effectivement, il fait le bilan de toute une vie dédiée au cinéma et aux arts, s’il constitue en toute évidence une célébration du septième art et un hommage à de nombreux amis cinéastes, il illustre jusqu’à quel point le cinéma ne peut être conçu sans les interinfluences entre les arts. Ainsi, au premier abord Les plages constitue le voyage rétrospectif d’une vie, une rêverie « autobiographique » d’une cinéaste constamment au devant d’une avant-garde. Pourtant ce film est beaucoup plus. Le lecteur spectateur se laisse surtout emporter par une aventure textuelle qui n’entend pas de frontières entre les arts. Si, effectivement, notre communication s’aprête à aborder le caractère réflexif du film de Varda, elle vise également à analyser la dimension symbolique de cette « mer » en évaluant les enjeux des « vagues » textuelles qui entrelacent le récit, et dont l’une d’entre elles n’est pas fortuite : celle du Cimetière marin de Paul Valéry. DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3069
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