RTF 317 Screening Journal 2
RTF 317 Screening Journal 2 RTF 317
Popular in Narrative Strategies in Film and Television
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Popular in Film
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This 1 page Class Notes was uploaded by Cassidy Schap on Wednesday September 30, 2015. The Class Notes belongs to RTF 317 at University of Texas at Austin taught by Michael Rennett in Spring 2015. Since its upload, it has received 12 views. For similar materials see Narrative Strategies in Film and Television in Film at University of Texas at Austin.
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Date Created: 09/30/15
I will be the first to admit that I don t really understand the plot of Last Year at Marienbad However I am beginning to realize that this lack of clarity is intentional The events that constitute the story as there is arguably not necessarily a coherent plot at least not in the classical sense defy the traditional conventions of the three act structure that is according to Linda Seger the structure that gives the story form focus momentum and clarityquot Seger 18 Missing are the classic setup turning points and climax that allow viewers a comprehensive understanding of the film as a whole The audience is shown long sequences of shots that contain no characters and no action but are instead of a multitude of inanimate objects around the chateau in which the film takes place Mirrors statues hallways and the like are presented with an almost monotonous narrative overlay Dialogue is interspersed with a veritable whirlwind of seemingly unrelated images Often the audience can t be sure that what they re seeing is real or true and that is as it happens the whole point David Bordwell notes that in classical narratives reality is assumed to be a tacit coherence among events a consistency and clarity of individual identityquot 206 The plot is moved forward in a series of cause and effect but Last Year at Marienbad defies the validity of such a reality Instead as Bordwell asserts artcinema narratives like Marienbad present a different definition of reality in which the world s laws may not be knowablequot and personal psychology may be indeterminatequot Bordwell 206 Rather than presenting an objective reality in which the characters are viewed from the outside Marienbad gives us a narrative that is subject to the mental state and perceptions of the characters Knowing this we can then use the syuzhet as a tool to gain insight into the characters themselves We are not watching the story unfold as uninvolved observers but instead viewing it through the mental framework of the characters as their thoughts memories and other internal experiences occur Everything including supposed quotrealityquot feels fabricated and constructed in a way that prevents any clear delineation between real and not real As a result the viewer must stop trying to ascertain fact versus fantasy and instead take into account everything they see deriving their own interpretation of each scene s significance