英语电影赏析ppt

Chapter4Narrative叙述,Narrative,Thischapterattemptsto:Definethebasictermsusedtoanalyzenarratives-Narrative,Story,andPlot.Describeninebasicstorytypes.DescribethecommonlyusedtheClassicThree-ActLinearStructure(经典三幕式直线结构).Describethevarietiesofsubplot.,Narrative,Narrativereferstothewaythatastoryistold.Itisprincipallyconcernedwiththewaythateventsareorganizedintimeandspacethewayinwhichthescriptwriteranddirectortaketherawelementsofastoryandarrangetheminthemostattractiveandinterestingway.,Narrative,Narrative,story,andplotarethebasictermsusedwhenanalyzingthenarrativestructureofafilm.Althoughtheyaresometimesusedinterchangeably,theyalsohavemoreprecisemeaningsthatcanhelpustodrawsomeusefuldistinctions.DavidBordwellandKristinThomasinFilmArt-AnIntroduction电影艺术入门definethemasfollows:,Narrative,NarrativeAchainofeventsincause-effectrelationships(因果关系)occurringintimeandspace.StoryAlltheeventsthatweseeandhear,plusallthosethatweinferorassumetohaveoccurred,arrangedintheirpresumedcausalrelations,chronologicalorder,duration,frequency,andspatiallocations.PlotAlltheeventsthataredirectlypresentedtous,includingtheircausalrelations,chronologicalorder,duration,frequency,andspatiallocations.Thekeydistinctionisthatbetweenstoryandplot:Storyistheviewersimaginaryconstructionofalltheeventsinthenarratives-whetherpresentedtousornot-whileplotisthefilmsactualpresentationofcertaineventsinthenarrative.,TheBasicStories,WritershavearguedthattherearealimitednumberofstoriesthatformthebasisforALLfictionalnarratives.ThesestorieshavebeennamedAchilles(阿喀琉斯),Candide(憨第德),Cinderella(灰姑娘),Circe(喀尔刻),Faust(浮士德),Orpheus(俄尔普斯),RomeoandJuliet(罗密欧与朱丽叶),Tristan(特里斯坦),andtheWanderingJew(流浪的犹太人).Theycanoccuraloneorincombination.,Achilles阿喀琉斯,The“Achilles”storyisthestoryoftheseeminglyinvulnerable(不会受伤的，无懈可击的)herowithafatalflaw.ClassicaltragedyisusuallyavariantoftheAchillesstory.(Example:Superman超人),Candide憨第德/天真汉,Thestoryoftheinnocentabroad,thenaivelyoptimisticherowhotriumphscontrarytoallexpectations.(Examples:ForrestGump阿甘正传,Mr.Bean憨豆先生),Cinderella灰姑娘,Thestoryofthe“dreamcomestrue”:Goodnessandvirtuearedespisedatthebeginningbutrecognizedatlast.TheprotagonistoftheCinderellastoryusuallybeginsinalowlypositionbut,throughhisgoodnature,convincesalldoubters(怀疑者)andisrewarded.(Example:Prettywoman漂亮女人),Circe喀尔刻,The“Chase”storyinwhichaninnocentvictimispursedbythevillain,untilthevillainisdefeatedbythepotentialvictim.Oftenthisstorytakestheformofthetemptress(诱惑男人的女性)ensnaring(诱捕)thelove-stuck(被爱情冲昏了头的)male;ithasoftenbeenvividlydescribedas“thespiderandthefly”.Itisthebasisofhorrorfilms,thrillers,andfilmnoir.(Examples:theAlienfilms异形系列),Faust浮士德,Thestoryofanindividualwhosellshissoultothedevil,enjoysabriefperiodofpowerandprosperity,buteventuallyiscalledupontorepaythedebt.TheFauststorycanalsotaketheformofthedarksecretthatcanneverbecompletelysuppressed,orthepersonalhistorythatcannotbeevaded.(Example:WallStreet华尔街),Orpheus俄尔普斯,Thestoryofthegiftthatistakenaway.Thegiftcouldbesomethingpersonal,alovedone,anabilityofsomekind,everythingvaluableinlife,orevenlifeitself.Thestorycanfocusonthetragedyofthelossitselforthesearchthatfollowstheloss.(Example:BornontheFourthofJuly出生于七月四日),RomeoandJuliet,Theclassic“star-crossedlovers(命运不佳的情侣)”storyinwhichamajorobstaclesstandsinthewayoftruelove.(Examples:Ghost人鬼情未了),Tristan特里斯坦,Thelovetriangle:Amanlovesawoman,butoneofthemisalreadyinvolvedwithsomeone(orsomethingelse).The“thirdparty”intherelationshipisusuallyaperson,butitmaybesomethingmoreabstract(e.g.acause,amission,adestiny).(Example:TristanActIIwouldoccupythenexthalf;andActIIIwouldoccupythefinalquarter.Eachacthasadifferentfunction.Foratypicaltwo-hourHollywoodfilm(i.e.120mins),theactdivisionwouldbeasfollows:,TheClassicThree-ActLinearStructure,TheClassicThree-ActLinearStructure,ACTITheSet-Up,ThefunctionofActIisto“set-up”thefilm:toprovideinformationaboutthemaincharacters,thesetting(布景),thetone气氛),problems,conflicts,theloveinterest,andthetimescaleofthefilm.Centraltotheset-upisthepresentationofthehero/protagonist.ActIwillalsogiveenoughinformationtoallowtheaudiencetoknowthegenretowhichthefilmbelongs,andthustoknowroughlywhattoexpectofit.InActIwealsoexpecttofindahook,akeyline,anincident,andaturningpoint.,ACTITheSet-Up,TheHookThehookistheintriguingepisodethatgrabstheattentionandsparksthecuriosityoftheviewer.Itcouldtaketheformofaconfrontationbetweenstronglycontrastingcharacters;itcouldpresentordinarypeopledoingextraordinarythings(orviceversa),oritcouldposeaquestion.TheKeyLineThekeylineposesthequestionthatthefilmasawholewillexplore,Thekeylinepointsoutthethemeofthefilm.IncitingIncidentTheIncitingIncidentisscenethatpresentstheprotagonistwithaproblemthatdisturbsthenormalityandpredictabilityoflife.Beforetheincitingincident,theprotagonisthasbeenlivinglifeasnormal;,ACTITheSet-Up,aftertheincitingincident,theprotagonistwillbedrivenbyanewmotivationtopursueanewgoal.Theprotagonistmaynottakeimmediateactiononaccountoftheincitingincident,butwillneverthelessbeginaprocessofreflectionthatwillleadeventuallytoaction.Turningpoint1Theroleoftheturningpointistocatapult(猛力推出)thestoryinanewdirectionbysettingupsomekindofcrisisfortheprotagonisttonegotiate.Theturningpointdiffersfromtheincitingincidentinthatitisassociatedwithsomedecisiveactionstakenbytheprotagonistthatdramaticallyraisesthestakes(冒更大的风险)andincreasesthedangerlevel.,ACTII:Development,ThefunctionofACTIIasawholetoshowthedevelopmentofthemaincharactersandplotthroughconflictandconfrontation.TheprotagonistwilladvancetowardsthegoalsuggestedbyhisactionsattheendofActI.However,theendofActIIwilltypicallyshowtheprotagonistencounteringamajorsetbackthatwillonlybeovercomeinActIII.ThePointofNoTurningThepointofnoreturnusuallyoccurshalfwaythroughthefilm,andisthesceneinwhichtheprotagonistbecomestrulycommittedtothegoalthathehasbeenpursuing.Theroleofthepointofnoreturnis:toforcetheprotagonisttoreassesshisgoal,toconsidergivingup,todecidetocontinue,andthentopursuethegoalinastillmorecommittedandsingle-mindedway.,ACTII:Development,TheTurningPoint2TuningPoint2,likeTurningPoint1,catapultsthestoryinanewdirectionbysettingupsomekindofcrisisfortheprotagonisttonegotiate.ThedifferencebetweenthetwoisthatTurningPoint2isamajorsetbackinwhichtheprotagonistisdefeated.TurningPoint2isalsocalledthemomentoftruth(真相时刻)becausetheprotagonistrealizesthattheactiontakensinceatTurningPoint1wasmisguided,weak,unprincipledandultimatelywrong.Yettheprotagonistisstrengthenedintheprocess,becausethroughrecognitionofhiserrorhegainsaclearerideaofwhatremainstobedone.,ACTIII:ResolutionandDenouement结局和尾声,ThefunctionofActIIIistoprovideastrongclimaxthatresolvestheproblemfirstencounteredbytheprotagonistinActI.TheprotagonistisshowntohaveundergoneatransformationsinceActII:Henowhasamuchhigherlevelofself-knowledge(自我认识),andamuchclearerideaofwhatneedstobedone,andsoispreparedforthisfinalclimax.Remainingquestionsareansweredandlooseendsaretiedupinthisact.,ACTIII:ResolutionandDenouement,ClimaxTheclimaxisthemomentatwhichtheprotagonistfaceshisgreatestchallengeandeitherdefeatshisopponentsorisdefeated.Inonesense,however,theprotagonistalwayswins:Hecanwinoutright:orhecanbedefeatedandyetstillwinbecausehehaslearntsomethingimportant.ResolutionTheresolutionisthebriefperiodaftertheclimaxwhentheprotagonistevaluateswhathashappenedandenvisions(想象,预想)anewfuture.Looseends,uncertainties,andsubplotsareconcludedinthispart.Oftenfilmswilltrytocreateasenseofcircularity(环状,循环)andcompletionbyrepeatingamotif(动机,主旨)fromthebeginning.,Subplots,MostHollywoodfilmshaveoneormoresubplots.Subplotsareadditionalstories(secondaryplots)thatarelinkedtothemainplotandhaveaninfluenceuponit;Subplotsoftendisplaythethememoreopenlythanthemainplot-allowingforelaborationuponit-andthustelluswhatthefilmisreallyaboutinalargersense.Distinguishingbetweenth