英语电影赏析ppt-4.ppt

英语电影赏析ppt-4.ppt

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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.Itisprincipallyconcernedwiththewaythateventsareorganizedintimeandspacethewayinwhichthescriptwriteranddirectortaketherawelementsofastoryandarrangetheminthemostattractiveandinterestingway.,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:

Storyistheviewersimaginaryconstructionofalltheeventsinthenarratives-whetherpresentedtousornot-whileplotisthefilmsactualpresentationofcertaineventsinthenarrative.,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-andthustelluswhatthefilmisreallyaboutinalargersense.Distinguishingbetweenthemainplotandsubplotscan