Book•
Story and Discourse: Narrative Structure in Fiction and Film
31 May 1980-
About: The article was published on 1980-05-31 and is currently open access. It has received 1885 citations till now. The article focuses on the topics: Narrative structure & Narrative criticism.
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TL;DR: Suspense is a cognitive and emotional reaction that is evoked by time-dependent structural characteristics of an unfolding dramatic narrative as discussed by the authors, and viewers of suspenseful commercials show a combination of hope and fear emotional responses.
64 citations
TL;DR: The authors explored the relationship between play and storytelling during digital play and found that the rules of play in computer games can be designed in ways that encourage consumers to co-create meaningful story plots derived from their knowledge of myth and creation.
Abstract: MARGO BUCHANAN-OLIVER* and YURI SEODepartment of Marketing, University of Auckland, Auckland, New ZealandComputer games are now a significant consumption activity in consumer culture. Informed by interdisciplinary studies and drawing on datafrom in-depth interviews with players of the Warcraft III computer game, we explore the relationship between play and storytelling duringdigital play. Understanding that such play is determined by systems of game rules and that computer game characters and settings are ca-pable of conveying cultural meanings to players, we found that the rules of play in computer games can be designed in ways that encourageconsumers to co-create meaningful story plots derived from their knowledge of myth and fiction. In the case of Warcraft, these plots resem-bled the archetypal plot of the hero’s journey. We conclude that computer games immerse consumers in a form of playful consumption thatengages them in memorialised, co-authored storytelling.Copyright © 2012 John Wiley & Sons, Ltd.
61 citations
TL;DR: In this paper, the authors discuss the increased attention that narratives and their characteristic quality, narrativity, have met with over the past few decades in a surprisingly large number of cultural practices.
Abstract: Among the many reorientations which the past century has brought about in the field of knowledge we have also witnessed what has been called the ‘narrativist turn’.2 This turn is evident in the increased attention that narratives and their characteristic quality, narrativity, have met with over the past few decades in a surprisingly large number of cultural practices. The table of contents of a volume edited by Cristopher Nash, Narrative in Culture,3 lists, for instance, economics, law, psychoanalysis, philosophy and literature — and this is only a selection of the discourses that have been associated with narrativity. In addition, one may mention autobiography (for obvious reasons), historiography,4 ‘natural history’ including geology and biology (an example of which is the series of booklets The Story Behind the Scenery devoted to explaining the geological, biological and cultural backgrounds of US National Parks and Monuments) and, moreover, the so-called ‘natural narratives’ of oral everyday ...
60 citations
60 citations
Dissertation•
01 Jan 1995
TL;DR: By introducing techniques while allowing the viewer to influence the presentation, a new method and vocabulary for storytelling has been created that allows the presentation to be manipulated while the plot assures that story will find the viewer regardless of his/her actions.
Abstract: Making narrative interactive promises to add a new depth and richness to the act of storytelling. It will allow us to experience story at a new level, more profoundly affecting us than ever before. But to do this we need to understand how a viewer can participate in a drama in interesting and engaging ways without disrupting the plot--which is the essential structure that transforms a mere sequence of events into a story.
This thesis describes an approach to interactive narrative that divides narrative into levels; the plot level which represents the high level goals, intentions, and events of the story, and the presentation level representing the geometry, motion and camera which produces the images seen by the viewer. Today's immersive interface technology provides a seamless and compelling link between the viewer and the presentation level. But the link between the plot level and the presentation level remains unexplored. This document describes techniques as well as a theory for seamless integration of transitions (the plot's influence on the camera) and the manipulation of staging (the plot's influence on the geometry and motion) into interactive, immersive narratives.
By introducing these techniques while allowing the viewer to influence the presentation, a new method and vocabulary for storytelling has been created. This new partnership between the story and the viewer allows the presentation to be manipulated while the plot assures that story will find the viewer regardless of his/her actions. (Copies available excusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668, Fax 617-253-1690.)
60 citations
Cites background from "Story and Discourse: Narrative Stru..."
...Likewise, Chatman (Chatman 1978) divides narrative into two parts: story and discourse....
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...E Actions vents Happens Story Charaters Narrative I Existents Discourse Setting Chatman's diagram of the narrative elements, most importantly dividing narrative into the what (story) and the how (discourse). events and existents (characters and setting)....
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...Chatman is not the first to make this distinction, but I have chosen his discussion for clarity....
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