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by: Anu

4_Text_and_Narrative.pdf FILM 2332

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About this Document

Battleship Potemkin Film
Understanding Film
John Petty
Class Notes
25 ?




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This 4 page Class Notes was uploaded by Anu on Thursday July 14, 2016. The Class Notes belongs to FILM 2332 at University of Texas at Dallas taught by John Petty in Summer 2016. Since its upload, it has received 4 views.


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Date Created: 07/14/16
Text and Narrative BATTLESHIP POTEMKIN Director: Sergei Einstein Cast: Grigori Aleksandrov (Officer Giliarovsky) Aleksandr Antonov (Grigory Bolshevnik - Sailor) NOTES:  1905 Revolution o high unemployment o bad working condition o strikes o russia govt. shut down organizations in strike o Bloody Sunday o Vladmir Lenin: The Great Dress Rehearsal  1917 o the first russian revolution (Feb.) o the second russian revolution (oct.)  1925 o celebrate 1905 revolution o einstein to commemorate history of revolution o Germany, not russia, was heart of film  heavily edited footage WWI  SOVIET MONTAGE THEORY o montage is conflict o new ideas emerge from collision of montage sequence o MARXIST THEORY= class/social conflict  progress result of conflict 1. METRIC o editing follows specific # of frames  cutting next shot no matter what is happeneing o shots shortened to increase tension o close-up with shorter shots creates more intense sequence 2. RHYTHMIC o based on continuity o continuity from visual pattern within shots o visual continuity from edit to edit  example: boots marching down o movement in one shot affects movement in next shot 3. TONAL o establish metric, rhythmic and tonal montage o to create even more abstract and complicated effect 4. INTELLECTUAL o unrelated shots combined o create meaning  TYPAGE= casting non-actors because they look the parts LECTURE I. WHAT IS NARRATIVE  chain of events linked by cause and effects and occuring in time and space o characters o settings o events 1. CHARACTERS o take action and engage in dramatic conflict o relation to other characters  PROTAGONIST= main character, experiences conflict  ANTAGONIST= obstacle for protagonist  ANTIHERO= example: Hulk  lack heroic qualities (bravery, integrity)  villanous qualities (brutality, cowardice)  SIDEKICK  subordinate role  protagonists talk to  counterpoint to protagonist in attitude, outlook, knowledge, etc. 2. SETTING o time, location, etc. o socio-cultural milieu o key in works that engage in world-building  example: game of thrones o reason for films existence 3. EVENTS o STORY= sequence of events recounted in chronological order o PLOT= way story is organized II. NARRATOLOGISTS  look at narrative and structure  perception of cultural artifacts  FABULA= raw material of story  SYUZHET= way story is organized through flashbacks and remembrances III. STRUCTURAL CONSIDERATIONS  CLASSICAL= conflict introduced and resolved in story with beginning, middle and end  EPISODIC= conflict is introduced and resolved, but with continuing characters o example: Star Wars  SERIALIZED= "to be continued" episode to episode  TRANSMEDIA= episodes or stories told across media o feature film, comic, video games, animations IV. THE THREE ACT STRUCTURE 1. THE FIRST ACT: SETUP o main characters introduced, relations defined, world established o something happens to protagonist (first turning point) o MacGuffin - motivator (what character is after 2. THE SECOND ACT: CONFRONTATION o "rising action" o attempt to resolve conflict from 1st turning point o things get worse o cannot be done alone 3. THE THIRD ACT: RESOLUTION o conflicts resolved o CLIMAX= most dramatic, protagonist growth complete V. THE HERO'S JOURNEY  monomyth documented by Joseph Campbell o basic story structure found throughout different ages and different cultures VI. WHAT IS TEXT  anything that can convey meaning  CONTENT= "work" itself (different from text)  WORKS= incomplete and have to be given meaning as texts o activated by viewers reading  CONTEXT= determines codes used in decoding textx  POLYSEMY= multiple meanings o example: Fags - in England it means cigarette, in America it was referred towards gays VII. INTERTEXUALITY  space and relationships between texts  creates specific reading formations o organizing texts into specific configurations  most parody is intertextual one way or another o biblical references  feeds and limits polysemy o fits text into specific patterns of reading such as genre  does not trace to single source  difference between genre and intertextuality GENRE INTERTEXUALITY  has circular quality o "a western is a  more concerned with ways western because it texts actively interact with has those each other characteristics" o an active  passive principle, film principle belongs to family VIII. PARATEXTUALITY  relationship between text and accessory messages and commentaries that come to surround the text o critics, promos, merchandise, budget reports o distinct and part of text  manage, amplify and alter meaning by shaping our experiences of a text  conceptual and non-physical things o reviews, budget report IX. THE BIG PICTURE  meaning of texts is controlled by their relation to other texts in specific reading formations END OF NOTES


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