Film Narratology PDF

2- NARRATORS Narrators and narratary Narrator → Message → Plot story → Narratary (audience) The narrator is “someone” who organizes and explains the events of the story. It constructs the diegesis and situates itself within the story. The author and the...

2- NARRATORS Narrators and narratary Narrator → Message → Plot story → Narratary (audience) The narrator is “someone” who organizes and explains the events of the story. It constructs the diegesis and situates itself within the story. The author and the narrator are not the same (the narrator is a construction, a tool created by the author). Author and narrator Author = real person Implied author = what we think the author is, according to his movie style for example. Narrator = someone who organizes and explains the story → Narrator + implied author Types of narrators -​ Autodiegetic narrator. Talking outside of the action but in first person. Is the mind character of the action. -​ Homodiegetic narrator. Implied in the situation. Is implied in the story but is not part of it. (Rose in titanic with 80 years when she tells the story). -​ Heterodiegético narrator. Talking from the outside of the action. (narrator of star wars) -​ The mega narrator. shows the actions without needing to say things, simply by showing them. Instance that enunciates, the presence on which can be more or less evident. Also known as “great imaginer”. Generally is an omniscient instance who reveals the facts, emotions and thoughts of the characters, and is also responsible for the overall narrative. Manipulates the various materials of audiovisual expression in order to construct the story. -​ Subnarrator. -​ Delegated narrators. These are the rest of the narrative instances, secondary to the fundamental one; thus, there would be a mega-narrator and then a series of subnarrators or delegated narrators who are classified as: NTRADIEGETIC, EXTRADIEGETIC and HETERODIEGETIC -​ IMR Spectator, narratary and implied spectator 3 levels: Real spectator (equals to empiric/real author) Implied spectator (equals to implied author) Narratary (equals to narrator) Spectator: -​ Spectators consider, elaborate and sometimes suspend and modify their hypotheses about the images and sounds on the screen. -​ Spectator operates in two areas: -​ The discourse, the way in which the events are explained, however fragmented or disordered they may be, is the instance that guides the narrative activity of the spectator. -​ The story that the film suggests and that the viewer recognizes based on the indications that the film offers. Spectator and implied spectator -​ Depending on: -​ Previous experience as spectators. -​ Knowledge of genre. -​ Things work like in life, likelihood. -​ The rules of the film itself, series, etc. Narratary -​ Purely textual existence, and depends on another "theory based" being, who is the one who configures it. The narratary is often implicit, which does not mear hat he can sometimes appear explicitly quoted in the text. -​ The functional belonging of the narratary is evidenced above all in stories that have an autodiegetic or homodiegetic narrator, when the subject who enunciates expressly calls the attention of the addressee, understood as the narratary. -​ Example: epistolany novel Point of view Focalisation The focalisation is how the narration is contempled, explaining the information that is available to a certain field of consciousness, either a character in the story, or a narrator who is inside the story and participates in it… The events can be narrated from the moment they happen, something later or in a very later moment. This can condition what the character knew or thought at the time of the events or his later ideas, already with the perspective of time. -​ Distance and frequency as a variable. History can be looked at with a microscope, so to speak, or with a telescope: proceed slowly and in great detail or tell us what happened in general. We also find differences in frequency: we can be told what happened on a specific occasion or what happened every tuesday.  -​ Limitations of knowledge. A story can be told from a very limited perspective (what would be seen through a hole in the wall, for example and it will explain the actions without allowing us access to the thoughts of the characters. On the other hand the so-called omniscient narration, in which the narrator, in the manner of a god, has access to the innermost thoughts and hidden motives of the characters. Ocularisation It Corresponds to framing (what seems in the frame). It's about looking through someone's eyes, in this case characters have more information than the spectators. One example could be when a character reads a letter, or his reaction to an offscreen reality. Limitations of knowledge. A story can be told from a very limited perspective (what would be seen through a hole in the wall, for example) and it will explain the actions without allowing us access to the thoughts of the characters. On the other hand the so-called omniscient narration, in which the narrator, in the manner of a god, has access to the innermost thoughts and hidden motives of the characters. Focularistion and ocularisation in narrative 3 formulas: 1.​ EXTERNAL FOCUS:. Strict representation of the superficial and materially observable characteristics of a character, a space or certain actions. The narrator refers objectively and dispassionately to the events and characters that make up the story. The narrator explains the story from an external point of view, without being an observer within the diegesis. 2.​ INTERNAL FOCUS: Point of view of a character who participates in the diegesis. This focalizing character quantitatively and qualitatively filters the events, can be: -​ fixed focus: a single character focus the action -​ multiple focus: the knowledge capacity of a group of characters -​ variable focus: focus is ditributed iscretionallyamong severan characters. 3.​ OMNISCIENT FOCUSING: that narrative situation in which the narrator makes use of an unlimited capacity for knowledge of everything. Late temporal situation associate → Possible effects depending on the formulas: 1.​ Omniscient narration = comprensible / restrictive point 2.​ Individual protagonist = unpredictable events / surprises Auricularisation Takes account the localisation of sounds, intelligibility of dialogues, individualisation of listening, etc. Internal auricularisation (certain deformations construct a particular listening) Zero auricularisation (sound is not relayed by any diagetic instance