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Chapter4Narrative叙述 Narrative Thischapterattemptsto Definethebasictermsusedtoanalyzenarratives Narrative Story andPlot Describeninebasicstorytypes DescribethecommonlyusedtheClassicThree ActLinearStructure 经典三幕式直线结构 Describethevarietiesofsubplot Narrative Narrativereferstothewaythatastoryistold Itisprincipallyconcernedwiththewaythateventsareorganizedintimeandspace thewayinwhichthescriptwriteranddirectortaketherawelementsofastoryandarrangetheminthemostattractiveandinterestingway 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 Storyistheviewer simaginaryconstructionofalltheeventsinthenarratives whetherpresentedtousornot whileplotisthefilm sactualpresentationofcertaineventsinthenarrative 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 Tristan Isolde 王者之心 TheWanderingJew流浪的犹太人 The WanderingJew isthestoryofthepersecutedoralienatedtravelerwhowillneverreturnhome Examples TheEnglishPatient 英国病人 TheBasicStories Achilles 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 theWanderingJew 流浪的犹太人 TheClassicThree ActLinearStructure ThemajorityofHollywoodfilmsemploytheclassicthree actlinearstructure oravariationofit Thestructurewasfirstlycodified 整理 bySydField buthassincebeenelaboratedandreinterpretedbyanumberofscriptwritersandtheorists Bynomeansallfilmswilladheretothisstructure andthosethatdowilldosoflexibly Nevertheless mostHollywoodscriptwriters 编剧 arefamiliarwiththestructureandacknowledgeitsimportance TheClassicThree ActLinearStructure Thethree actstructureimpliesthatthefilmcanbedividedintothreeacts ActIwouldnormallybeexpectedtooccupythefirstquarterofthefilm ActIIwouldoccupythenexthalf 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 andthustelluswhatthefil