HUM3 questions

8/7/2019 HUM3 questions

1/16


2/16

Knowledgeability isthe extent to which thenarration lays claim to a range and depth offabulainformation.

e.g. : You are given information in the expositionas to what you should expect before the ending.You know that what you will be seeing is an ActionFilm and it stars certain known Hollywood actors.

Self-consciousness isthe degree to which thenarration acknowledges and address its spectator.

e.g. You are being asked by the film as to what youshould expect or what is communicated bythe film.


3/16

Communicativeness: is the extent to whichthe narration withholds or communicates

fabulainformation. e.g. You are in constant dialogue with the

images of the film as well as with theoverall plot and narration.


4/16

In providing you with the story, images, andimages, how does the movie Where the WildThings Are affect you as an audience interms of understanding its narrative form?

How is it different or similar with amainstream/Hollywood Movie (say forexample Rome + Juliet) in terms of itsnarrative form?

How is it different or similar with a FilipinoIndie Film and with the approach ofMainstream Cinema?


5/16

Goal bereft protagonists: charactersobserve rather than acting as causal agents.

Elliptical and/or episodic linking of events. Plots based on boundary situations

leading to existential crises andtransformations in the main characters.

An expressive realism shapes space:dreams, memories, fantasies motivate

ambiguous and subjective narratives. Restricted narration. High degree of stylistic self-consciousness.


6/16


7/16

How does the these kinds of narrationproduce or motivate critical thinking? Or doesit, in the first place?

How does these kind of narration be seen assimilar or different from written literary arts?

How do you see an artist (director/writer forfilm) use these kind of narration in elevating

art as a way of perpetuating criticalhumanistic tradition, such as the critique ofhuman existence, etc?


8/16

A subjective or expressive verisimilitudeattuned to exhibiting character. The emphasis on interior or psychological

realities: Meaning a deeper question on

being human or an individual.

Plots defined by boundary-situationstories:

the causal situation leads up to an episodewhere the art film protagonist faces acrisis of existential significance.


9/16

Narrational characteristics of the art film

protagonist. Lacks clearly defined traits and goals.

Causal motivation is withdrawn or unknown,emphasizing insignificant actions and intervals.

The classical protagonist struggles; the art filmprotagonist drifts passively, tracing out an itineraryof social situations.

Concerned less with action than reaction, art cinemapresents psychological effects in search of theircauses.

Characters retard the forward movement of the plotby recounting stories, fantasies, and dreams. Oftenleads to temporal disjunctions, such as flashbacks.


10/16

Narrational characteristics of the art filmprotagonist, contd. Conventions of expressive realism

shape spatial representation: optical point of view shots, flash

frames of a glimpsed or recalledevent, discontinuous editing patternsassociated with interior orpsychological time, modulations of

light, color, and sound, are motivatedby character psychology.


11/16

The art film restrains thenarrational point-of-view to asingle protagonist or may split it

between several protagonists.Enhances expressivity ofsubjectivity, but also makes

narration unreliable.


12/16

Art films tend to highly self-conscious

narration. The viewer looks for moments in which

the narration may interrupt theprogress of the plot and call attention

to itself through stylistic flourishes.

The implied narrator is no longerinvisible but calls attention to itself.


13/16

Scenes may end in medias res. Gaps are created that are not explicable

by character psychology. The plot is retarded through withholding

information or providing too much. Connotative and symbolic associations

replace logic of cause and effect.


14/16

Exposition is delayed and widely distributed acrossthe film.

Disjunctions in temporal order such as flashbacksand forwards. Has the effect of flaunting both the narrations

range of knowledge and its relativeincommunicativeness (telling a little whilewithholding a lot).

In sum, the construction of the narration becomes

the object of spectator hypotheses: how is thestory being told? why tell the story in this way?(210).


15/16

Knowledgeability: the extent to which the narration laysclaim to a range and depth offabulainformation.

Self-consciousness: the degree to which the narration

acknowledges its address to the spectator. Communicativeness: the extent to which the narration

withholds or communicates fabulainformation.

Mode Knowledge Self-csness Communica-tiveness

Narrator Author

Classical omniscient moderate high invisible effaced

Art cinema restr icted high low foregrounded present


16/16

WHAT is ART? WHAT IS CINEMA?

HOW DOES ART AND CINEMA OR ART ASCINEMA/FILM AS ART Contribute to thediscussion of the HUMANITIES?

HOW CAN THE PHILIPPINES HARNESS THESECREATIVE/CRITICAL ASPECTS IN IMPROVING A

SITUATION AS A PEOPLE/COUNTRY/HUMANBEING?

Documents

HUM3 questions