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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: In this paper, the authors explored the situational fit of three media; music playlists, live radio, and podcasting, during public transit in London, UK in December 2013, and found that listeners were more interested in curating their music, and less interested in engaging with social concerns of live radio or the learned address of educational podcasting.
Abstract: Many people wear headphones during movement through their city, and they listen to a variety of sound genres like music, talk, lectures, etc. This study focuses on the pedestrian headphone listener who may spend an hour or more traveling every day. It explores the situational fit of three media; music playlists, live radio, and podcasting, during public transit.A field trial was conducted in London, UK in December 2013. Ten adult iPhone users were exposed to a music playlist on Spotify, live news from London's Biggest Conversation (LBC), and educational podcasts from BBC Radio 4, while simultaneously going about their business in Central London. This study discovered informants were more interested in curating their music, and less interested in engaging with the social concerns of live radio, or the learned address of educational podcasting. Music was felt as relaxing while radio and podcasting were felt as more imposing on their concentration. In sum, the participants found radio and podcasting to have ...
16 citations
Cites background from "Story and Discourse: Narrative Stru..."
...Narrative theory (Chatman, 1980) as well as hermeneutics (Iser, 1991) argue that cultural products have an ‘‘ideal position’’ that the real listeners should take up in order to get the most out of the communicative event....
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Book•
04 Mar 2010
TL;DR: García-Alfonso and Martínez-Vázquez as mentioned in this paper present a survey of survivability narratives in the Hebrew Bible and in the Bible today.
Abstract: RESOLVIENDO: NARRATIVES OF SURVIVAL IN THE HEBREW BIBLE AND IN CUBA TODAY by Cristina García-Alfonso, Ph.D., 2008 Brite Divinity School Dissertation Advisor: Leo G. Perdue, Professor of Hebrew Bible Dr. Hjamil Martínez-Vázquez, Assistant Professor Latina/o Religious History, Religion in the Borderlands Dr. Fernando F. Segovia, Oberlin Graduate Professor of New Testament and Early Christianity The story of Rahab in Joshua 2 has traditionally been interpreted as the account of a foreign woman and low-status prostitute who changes the course of her life when she converts to Yahweh, the God of Moses. In return for her faithful act of saving the spies sent by Joshua to search the land of Canaan, Rahab along with her family obtains salvation once her city of Jericho is destroyed. Rahab reappears in the New Testament where she is remembered in Jesus’ genealogy in the gospel of Mathew 1:5. The story of Jael in Judges 4:17-23 has commonly been read as Jael’s violent act of killing Sisera, King Jabin’s commander in chief, with a tent peg to his temple while he was asleep. She is also perceived as someone who fails to fulfill the hospitality codes of her society. The story of Jephthah and his unnamed daughter in Judges 10:6-12:7 describes the tragic event in which Jephthah makes a foolish and horrible vow offering his innocent
16 citations
01 Jan 2004
TL;DR: In this paper, the authors explore the notion of experience in the context of dynamic and interactive environments, such as web-based musea, where neither the individual user requirements nor the requested material can be predicted in advance.
Abstract: This paper explores the notion of experience in the context of dynamic and interactive environments, such as web-based musea, where neither the individual user requirements nor the requested material can be predicted in advance. A definition of experiences for the particular context is introduced on which the analysis of the what (events), why (context) and the how (presentation) are based. The paper tries to identify the essential aspects of representation for the three main fields of investigation, namely content and expression for the event; goal, task action and role for the context, and the influence of event and context for the presentation. The aim is that the system can find satisfactory solutions for upcoming questions (e.g. based on the content of an image), misunderstandings (rearrangement of the material) or non-understanding (creation of a new sequence). The intent of the paper is to provide a first step towards dynamic and adaptive knowledge structures that facilitate conceptual presentations.
16 citations
Journal Article•
TL;DR: In this paper, an analysis of the use of unreliable narrators in documentary can be found, which can be seen as a powerful tool to help viewers engage actively with documentaries, invite constructive questioning and critical thinking about the authorial power of filmic narration, and open up more profound layers of meaning for viewers in interpreting films.
Abstract: IN A MEDIA-SATURATED WORLD, it can be very hard to parse who and what to believe. With the lines between documentary and fiction increasingly blurred in the aesthetics of contemporary filmmaking, documentary practitioners are faced with ongoing questions about the nature of documentary "truth"-from analyzing how the conventions of documentary realism function to renegotiating the terms of documentary's truth contract with its audiences. These age-old questions are enormous in scope, inviting debates that do not necessarily lead to clear, concrete answers. But considering that documentary is often packaged as entertainment or produced to advance an agenda, reviving and reconsidering these kinds of questions is necessary not only to whet the art and craftof making documentaries, but also to enrich the dialogue that occurs among documentary viewers after they have seen a film. Unraveling the complex knot of power embedded in representations of documentary "truth" is an essential practice for filmmakers and spectators seeking to challenge systems of oppression as well as those simply seeking to become more self-aware and informed about the world. Unreliable narrators are merely one thread in that knot, but a discourse about the unreliable narrator as a construct in the documentary form is nevertheless a vital component of these larger conversations.Whether in literature, film, or theoretical essays, the unreliable narrator most often appears in the context of fictional storytelling; far fewer examples of the unreliable narrator have been theorized in nonfiction or documentary filmmaking. Perhaps this is for the obvious reason that the presence of an unreliable narrator suggests a falsification of truth that would seem to invoke a world of fiction. It could be argued that an unreliable narrator works against the very definition of documentary filmmaking; however, documentary filmmaking has always had a tenuous relationship with the ideal of truth. If one accepts the premise that both truth and misrepresentations of truth coexist in the documentary tradition, then the construct of an unreliable narrator can help draw attention to the rhetorical nature of documentary "truth."To explore these issues, this analysis will begin by drawing upon the work of Wayne Booth to establish a working definition of an "unreliable narrator." Revisiting a well-known example of the unreliable narrator in the film Rashomon by Akira Kurosawa (1950) and applying theory developed by Seymour Chatman will help elucidate this definition and make an important distinction between how the unreliable narrator is constructed in written texts versus films. Since documentaries function within a different rhetorical dimension than fictional films, the analysis will proceed by exploring how the concept of the unreliable narrator in documentary has different effects and consequences than in the world of fiction. Close readings of two contemporary documentaries, Laura Poitras's The Oath (2010) and Banksy's Exit Through the GiftShop (2010), will serve as the central focus of these arguments. These two documentaries-one about the war on terrorism, the other about the commercialization of art-are similar in the manner that they suggest the unreliability of their protagonists, but differ greatly in their presentation as reliable documents. Additional scrutiny of Atomic Cafe (1982), directed by Jayne Loader, Kevin Rafferty, and Pierce Rafferty, and Luis Bunuel's Land Without Bread (1932) will provide points of comparison to further delineate the significance of precise narrational positioning for framing unreliability in the documentary form. These case studies will illustrate variations in how unreliable narrators are constructed and in how the unreliable narrator functions relative to the perceived intentions of the implied author in each film. Ultimately, this analysis will interrogate how the use of an unreliable narrator in documentary can be a powerful tool to help spectators engage actively with documentaries, invite constructive questioning and critical thinking about the authorial power of filmic narration, and open up more profound layers of meaning for viewers in interpreting films. …
16 citations
01 Jan 2005
TL;DR: The continued proliferation of the producing and consuming of auto/biography is perhaps best explained in terms of a sequence of challenges from history, from criticism to the received forms: challenges which have in turn produced new forms of life-writing and new modes of understanding the genres involved, and generated a new terminology as mentioned in this paper.
Abstract: Life-writing in the twentieth century’s era of experiment and modernity has demonstrated that there is still life in its forms. The culture industries have found them persistently lucrative. Lives of royals, generals, politicians and other performers endure on the bestseller lists. Educationalists and clerics may have given way to sports and media ‘personalities’, but the investment in the biographic remains massive. The ‘biopic’ emerged as a staple of the film industry in this period. There is enough biographical documentary to programme a Biography Channel for television. This continued proliferation of the producing and consuming of auto/biography isn’t reducible to a single grand narrative of shifts and developments. In part this is because the genres of life-writing are less well-researched than plays, poems or novels – though they have begun to attract more critical attention in the last two decades. But also because, just as realism has flourished in fiction and film alongside and despite other forms (Absurdist, Existentialist, magic realist, supernaturalist, metafictional, Postmodernist), so fundamentally realist biography and autobiography have flourished among more experimental forms of life-writing. This diversity of forms (what we might call ‘auto/biodiversity’) is arguably part of the condition of postmodernity. How we got there is perhaps best explained in terms of a sequence of challenges – from history, from criticism – to the received forms: challenges which have in turn produced new forms of life-writing and new modes of understanding the genres involved, and generated a new terminology.
16 citations