Narrative Comprehension and Film

Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen.

Narrative Comprehension and Film

Narrative is one of the ways we organise and understnad the world. It is found everywhere: not only in films and books, but also in everday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, attorneys and many others. Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analyses of classical narratives form the basis of a complex study of every aspect of filmic fiction exploring, for example, subjectivity in Lady in the Lake, multiplicity in Letter from and Unknown Woman, post-modernism and documentary in Sans Soleil.

Projecting a Camera

In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory.

Projecting a Camera

In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in film. With its thorough grounding in the philosophy of spectatorship and narrative, Projecting a Camera takes the study of film to a new level. With the care and precision that he brought to Narrative Comprehension and Film, Edward Branigan maps the ways in which we must understand the role of the camera, the meaning of the frame, the role of the spectator, and other key components of film-viewing. By analyzing how we think, discuss, and marvel about the films we see, Projecting a Camera, offers insights rich in implications for our understanding of film and film studies.

Narration in the Fiction Film

For schooled perceivers in contemporary Western culture , narrative
comprehension and recall are centrally guided by the goal of creating a
meaningful story out of the material presented . Generally , the spectator comes
to the film already ...

Narration in the Fiction Film

Mimetic theories of narration - Diegetic theories of narration - The viewe's activity - Principles of narration - Sin, murder, and narration - Narration and time - Narration and space - Modes and norms - Classical narration : the Hollywood example - Art-cinema narration - Historical-materialist narration : the soviet example - Parametric narration - Godard and narration.

Film Theory

45 LEVELS OF NARRATION Edward Branigan Source : Narrative
Comprehension and Film , London : Routledge , 1992 , pp . 86 – 124 . Eight
levels Perception must occur within boundaries and limits : perception of what
under which ...

Film Theory

This major new collection identifies the critical and theoretical concepts which have been most significant in the study of film and presents a historical and intellectual context for the material examined.

First Person

The Classical Hollywood Cinema. New York: Columbia University Press.
Bordwell, David (1989). Narration in the Fiction Film. Madison: University of
Wisconsin. Branigan, Edward (1992). Narrative Comprehension and Film. New
York: ...

First Person

The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists.

The Levels of Narrative Cinematic Techniques

This is why, in this thesis, I would like to apply Branigans levels on narrative cinematic techniques and look at how a certain technique can give us as much insight in a characters thoughts and feelings as a particular level of narration ...

The Levels of Narrative Cinematic Techniques


Filmosophy

Let us first of all look at David Bordwell ' s theories of film narrative style and
comprehension . For Bordwell , narration is a process in which films provide cues
to the filmgoers , who use interpretive schemata to construct the story of the
drama .

Filmosophy

Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as Béla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and filmmakers alike. FILMOSOPHY ® is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author.

Aesthetics and Film

If we are watching a narrative fiction film, for example, we have to figure out
what's going on in the story. ... This suggests that there are three principal
activities performed by the thinking film viewer: comprehension, interpretation,
and ...

Aesthetics and Film

Aesthetics and Film is a philosophical study of the art of film. Its motivation is the recent surge of interest among analytic philosophers in the philosophical implications of central issues in film theory and the application of general issues in aesthetics to the specific case of film. Of particular interest are questions concerning the distinctive representational capacities of film art, particularly in relation to realism and narration, the influence of the literary paradigm in understanding film authorship and interpretation, and our imaginative and affective engagement with film. For all of these questions, Katherine Thomson-Jones critically compares the most compelling answers, driving home key points with a wide range of film examples including Wiene's The Cabinet of Doctor Caligari, Eisenstein's October, Hitchcock's Rear Window, Kubrick's The Shining and Sluizer's The Vanishing. Students and scholars of aesthetics and cinema will find this an illuminating, accessible and highly enjoyable investigation into the nature and power of a technologically evolving art form.

Hyper narrative Interactive Cinema

2 Brannigan, Narrative Comprehension, p. 3. 3 Bordwell, Narration in the Fiction
Film, p. 34. 4 Brannigan, Narrative Comprehension, p. xii. 5 Carroll, Mystifying
Movies, pp. 138–147. 6 Carroll suggests they do so through three basic
strategies: ...

Hyper narrative Interactive Cinema

Hyper narrative interactive cinema refers to the possibility for users or "interactors" to shift at different points in an evolving film narrative to other film narrative trajectories. Such works have resulted so far in interactor distraction rather than sustained engagement. Contrary to post-modern textual and cognitive presumptions, film immersion and computer game theories, this study uses dual coding theory, cognitive load theory, and constructivist narrative film theory to claim that interactive hyper-narrative distraction results from cognitive and behavioral multi-tasking, which lead to split attention problems that cannot be cognitively handled. Focus is upon split attention resulting from the non-critical use of de-centered and non-cohering hyper-narrative and audio-visual formations, and from interaction. For hyper-narrative interactive cinema to sustain deep engagement, multi-tasking split attention problems inhering in such computer-based works have to be managed, and - most importantly - made to enhance rather than reduce engagement. This book outlines some viable solutions to construct deep cognitive-emotional engagement of interactors with hyper-narrative interactive cinema.

Narrative Theory and Adaptation

The book explicates, in clear prose for beginners, four key facets important to the narrative theory of film: the distinction between practical vs. critical theory, the role of adaptation, the process of narrative comprehension, and notions ...

Narrative Theory and Adaptation

Narrative Theory and Adaptation offers a concise introduction to narrative theory in jargon-free language and shows how this theory can be deployed to interpret Spike Jonze's critically acclaimed 2002 film Adaptation. Understanding narrative theory is crucial to make sense of the award-winning film Adaptation. The book explicates, in clear prose for beginners, four key facets important to the narrative theory of film: the distinction between practical vs. critical theory, the role of adaptation, the process of narrative comprehension, and notions of authorship. It then works to unlock Adaptation using these four keys in succession, considering how the film demands a theoretical understanding of the storytelling process. In using this unusual case study of a film, the author makes the case for the importance of narrative theory as a general perspective for filmmakers, critics, and viewers alike.

Puzzle Films

Drawing upon the expertise of film scholars from around the world, this edited collection investigates a number of films that sport complex storytelling—from Memento, Old Boy, and Run Lola Run, to the Infernal Affairs trilogy and In the ...

Puzzle Films

Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, Old Boy, and Run Lola Run, to the Infernal Affairs trilogy and In the Mood for Love. Unites American ‘independent’ cinema, the European and International Art film, and certain modes of avant-garde filmmaking on the basis of their shared storytelling complexity Draws upon the expertise of film scholars from North America, Britain, China, Poland, Holland, Italy, Greece, New Zealand, and Australia

Film and Stereotype

A Challenge for Cinema and Theory Jörg Schweinitz. ——. Narration in the ...
The Classical Hollywood Cinema: Film Style and Mode of Production to 1960.
New York: Columbia ... Narrative Comprehension and Film. London: Routledge,
1992 ...

Film and Stereotype

Since the early days of film, critics and theorists have contested the value of formula, cliché, conventional imagery, and recurring narrative patterns of reduced complexity in cinema. Whether it's the high-noon showdown or the last-minute rescue, a lonely woman standing in the window or two lovers saying goodbye in the rain, many films rely on scenes of stereotype, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important as it is problematic to a film's narrative, Jörg Schweinitz constructs a fascinating though overlooked critical history from the 1920s to today. Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Rudolf Arnheim, Robert Musil, Béla Balázs, Hugo Münsterberg, and Edgar Morin, and he revives the work of less-prominent writers, such as René Fülöp-Miller and Gilbert Cohen-Séat, tracing the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps the development of models for adapting and reflecting stereotype, from early irony (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). Altogether a provocative spectacle, Schweinitz's history reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in growing media competence in audiences beyond cinema.

Narrative Pleasures in Young Adult Novels Films and Video Games

In this book, twelve young people read a novel, watch a film and play a video game from beginning to end. Their responses inform a new framework of contemporary themes of narrative comprehension.

Narrative Pleasures in Young Adult Novels  Films and Video Games

Stories are told today through many formats and young interpreters bring multimedia experience to bear on every narrative format they encounter. In this book, twelve young people read a novel, watch a film and play a video game from beginning to end. Their responses inform a new framework of contemporary themes of narrative comprehension.

The Routledge Encyclopedia of Film Theory

He is the author of Projecting a Camera: Language-Games in Film Theory (2006)
, Narrative Comprehension and Film (1992), and Point of View in the Cinema: A
Theory of Narration and Subjectivity in Classical Film (1984). With Charles Wolfe
 ...

The Routledge Encyclopedia of Film Theory

The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first. When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. The Routledge Encyclopedia of Film Theory challenges these first impressions by aiming to make film theory accessible and open to new readers. Edward Branigan and Warren Buckland have commissioned over 50 scholars from around the globe to address the difficult formulations and propositions in each theory by reducing these difficult formulations to straightforward propositions. The result is a highly accessible volume that clearly defines, and analyzes step by step, many of the fundamental concepts in film theory, ranging from familiar concepts such as ‘Apparatus’, ‘Gaze’, ‘Genre’, and ‘Identification’, to less well-known and understood, but equally important concepts, such as Alain Badiou’s ‘Inaesthetics’, Gilles Deleuze’s ‘Time-Image’, and Jean-Luc Nancy’s ‘Evidence’. The Routledge Encyclopedia of Film Theory is an ideal reference book for undergraduates of film studies, as well as graduate students new to the discipline.

Film Worlds

A historian can treat a movie as a document of its time and place . . . but most of
the time we assume that cinema is an art ... Along with Bordwell's Narration in the
Fiction Film, other works include Branigan, Narrative Comprehension and Film; ...

Film Worlds

Film Worlds unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, Film Worlds extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film.

Film Discourse Interpretation

The interplay of the modalities results in a narrative text whose comprehension
and interpretation requires the spectator's active participation. As a dynamically
unfolding discourse, the combinations of resources change in time and space
and ...

Film Discourse Interpretation

This book contributes to the analysis of film from a multimodal and textual perspective by extending formal semantics into the realm of multimodal discourse analysis. It accounts for both the inferential as well as intersemiotic meaning making processes in filmic discourse and therefore addresses one of the main questions that have been asked within film theory and multimodal analysis: How do we understand film and multimodal texts? The book offers an analytical answer to this question by providing a systematic tool for the description of this comprehension process. It aims to advance knowledge of the various resources in filmic texts, the ways the resources work together in constructing meaning and the ways people understand this meaning construction. This new approach to film interpretation is thus able to remodel and improve the classical paradigm of film text analysis.

The End

To assist readers in understanding the various functions of endings, the films are divided into four critical categories: the "Closed Text" film, typical of classical works; the "Open Story" films; the "Open Discourse" film; and the "Open ...

The End

Given the importance that spectators grant to the final moments of a motion picture, it is surprising to find so little written on how films end and how audiences interpret those closing moments. This study investigates endings in film and the lively role they play in how and why viewers make sense of movies. Relying upon contemporary literary criticism and film theory, the author analyses narrative strategies in films ranging from the classical Hollywood motion picture to the more modern European art cinema. To assist readers in understanding the various functions of endings, the films are divided into four critical categories: the "Closed Text" film, typical of classical works; the "Open Story" films; the "Open Discourse" film; and the "Open Text" film which struggles to defy story resolution. Detailed textual analysis of sample films reveal how all of the devices of filmic narration - from "mise-en-scene" to soundtracks - direct a viewer's perception, comprehension and interpretation of closure in films. Among the sample films that are featured as test cases for studying endings are "The Quiet Man" (Ford, 1950), "The 400 Blows" (Truffaut, 1959), "Weekend" (Godard, 1967), "Tout va bien" (Godard, 1972), and "Earth" (Dovzhenko, 1930). To round out his informative study of endings in films, Neupert also examines a host of diverse titles, including "Do the Right Thing" (Lee, 1989), "Open City" (Rossellini, 1945) and "The Graduate" (Nichols, 1967).

New Vocabularies in Film Semiotics

(Prince 1987: 60) The study of narrative structures and the activity of narrative
comprehension is the subject of NARRATIVE ANALYSIS. Narrative analysis
focusses on the interaction of the various strata of the narrative work,
distinguishing ...

New Vocabularies in Film Semiotics

First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Studying Comics and Graphic Novels

Branigan, Edward. 1992. Narrative Comprehension and Film. London: Routledge
. Genette, Gérard. 1982. Figures of Literary Discourse. Oxford: Blackwell.
Horstkotte, Silke and Nancy Pedri. 2011. “Focalisation in Graphic Narratives.”
Narrative ...

Studying Comics and Graphic Novels

This introduction to studying comics and graphic novels is a structured guide to a popular topic. It deploys new cognitive methods of textual analysis and features activities and exercises throughout. Deploys novel cognitive approaches to analyze the importance of psychological and physical aspects of reader experience Carefully structured to build a sequenced, rounded introduction to the subject Includes study activities, writing exercises, and essay topics throughout Dedicated chapters cover popular sub-genres such as autobiography and literary adaptation

The Cinema of Steven Spielberg

VarietyVariety Branigan, Edward (1992) Narrative Comprehension and Film.
London and New York: Routledge. Branston, Gill (2000) Cinema and Cultural
Modernity. Buckingham and Philadelphia: Open University. Breen, Jennifer (
1999) ...

The Cinema of Steven Spielberg

Cinema's most successful director is a commercial and cultural force demanding serious consideration. Not just triumphant marketing, this international popularity is partly a function of the movies themselves. Polarised critical attitudes largely overlook this, and evidence either unquestioning adulation or vilification often vitriolic for epitomising contemporary Hollywood. Detailed textual analyses reveal that alongside conventional commercial appeal, Spielberg's movies function consistently as a self-reflexive commentary on cinema. Rather than straightforwardly consumed realism or fantasy, they invite divergent readings and self-conscious spectatorship which contradict assumptions about their ideological tendencies. Exercising powerful emotional appeal, their ambiguities are profitably advantageous in maximising audiences and generating media attention.