Communications Chapter 7 Homework Have Them Cite Specific Examples From The

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CHAPTER 7

NARRATIVE FILMS: TELLING STORIES

KEY OBJECTIVES

• Summarize the cultural ubiquity of storytelling in film.

• Describe the different historical practices that create the foundations for film narratives.

• Explain how film narratives construct plots that can arrange the events of a story in different ways.

• Identify the way film characters motivate actions in a story.

CHAPTER OVERVIEW

Chapter 7 is the first chapter in Part 3, which deals with organizational structures: narrative, documentary, and

experimental films, as well as familiar movie genres. Chapter 7 begins with a short history of narrative and narrative

film from its roots in storytelling to the present day. It then examines stories and plots, characters, the three-part

structure of narrative—beginning, middle, and end—and the different ways in which narrative elements can order

time and space. Finally, it considers the cultural and historical contexts that shape each narrative.

This chapter draws upon ideas that students may have encountered in literature, creative writing, anthropology,

sociology, or screenwriting classes. It exposes the underlying structures that cause viewers to prefer and seek out

movies with certain kinds of plots, stories, or narrative styles and prompts students to examine what motivates their

own moviegoing choices.

TEACHING THE OPENING VIGNETTE

Oz the Great and Powerful (2013) relies not just on the audience’s familiarity with narration and narrative

conventions but also on its knowledge of 1939’s The Wizard of Oz and the Oz books by Frank L. Baum. We take it

for granted that there’s no place like home, even though Kansas’s drab black-and-white mise-en-scène does little to

persuade us visually. Consider beginning the discussion of narrative forms by looking at two scenes from the movie

that subvert our expectations: when Dorothy first meets the Cowardly Lion and when she learns from the Wizard

TEACHING THE CHAPTER

We seek out good films with interesting characters, plots, and narrative styles. All of these narrative elements

and structures offer numerous possibilities for creating different kinds of stories, invariably related to the cultural

and historical contexts that help shape them. Movies draw from a wide variety of narrative traditions: oral, written,

visual, and musical. Many film narratives follow a classical pattern of linear development and parallel plots; others

deviate from those patterns and explore different ways of constructing a story. Choosing a specific narrative form

means committing to certain options and excluding others.

In real life, students create narratives all the time. They tell stories about their weekend, describe how they

overcame an academic obstacle, revise the story of a failed romance, or omit incriminating details from an anecdote

when sharing it with a parent or teacher.

According to Jean-Luc Godard, every film has a beginning, a middle, and an end, but not necessarily in that

order. Film narratives allow us to explore and think about how we organize time and history into meaningful

patterns.

Teaching Technical Vocabulary and Key Concepts

Regardless of the academic home of this course or its particular focus, it is essential that students are conversant

with the myriad ways film organizes time and space. The chapters in Part 3 examine the different ways in which

movies are organized to tell a story or, in the case of experimental film, evoke memories, dreams, and sensory states.

When teaching technical vocabulary for this section, encourage students to construct their own narratives by asking

them to write essays and journal entries that apply terminology learned in class to the films watched.

TEACHING HISTORY CLOSE UP, p. 250

In the years following World War II, Hollywood began producing socially conscious films that did very well at

the box office, including William Wyler’s The Best Years of Our Lives (1946) (which won the Academy Award for

Best Picture), Edward Dmytryk’s Crossfire (1947), and Fred Zimmerman’s The Men (1950). In this sense, Salt of

the Earth was very much in line with Hollywood at the time. But the rise of anti-communist sentiment in Hollywood

made for a much more intimidating atmosphere, and Herbert J. Biberman and his Salt of the Earth were among the

Red Scare’s many casualties. As the “History Close Up” box indicates, Salt of the Earth plays a role in multiple

narratives about American life, not just the story of the “Hollywood Ten.” It is also a film that brings feminist and

Latino issues into focus.

Discussion Question #1: Consider this film in relation to Italian Neorealism (see chapter 2, pp. 70, as well as chapter

3, pp. 124-125). How might Salt of the Earth be considered an example of American neorealism?

Discussion Question #2: What recent films have shed light on similar issues of labor, gender, and ethnicity? Which

genre, the narrative film or the documentary, is better suited to addressing these issues?

TEACHING THE VIEWING CUES

1900–1920: Adaptations, Scriptwriters, and Screenplays, p. 247

For the film you recently watched in class, describe as much of the story as you can. What are the main events, the

implied events, and the significant and insignificant details of the film’s story?

Ask students, alone or in groups, to describe the movie using forms characteristic of an oral narrative, a

Character Coherence, Depth, and Grouping, p. 256

In the film you are watching for class, select a character that you might define as singular. Does that singularity

indicate something about the values of the film? Does the character seem coherent? How?

This Viewing Cue works well as a prompt for discussion. Eve Harrington in All About Eve (1950) seems at first

to be a singular character, but our impression of her uniqueness is overturned in the final minutes of the film. Debate

the merits of character coherence in class. Do real people act coherently?

Character Types, p. 257

What kinds of social hierarchies are suggested by the character groupings in a film you’ve just viewed?

One interesting approach to implementing this Viewing Cue would be mapping the social hierarchies in the

Film in Focus movies Apocalypse Now and Daughters of the Dust (1991) and how they relate to issues of race in

each film. Another might involve comparing the matriarchal structures in Julie Dash’s film with those found in

Mildred Pierce.

Diegetic and Nondiegetic Elements, p. 260

Describe the diegesis of the film you just watched in class. Which events are excluded or merely implied when that

diegesis becomes presented as a narrative?

This Viewing Cue highlights how plot selection and omission shapes a story from its diegesis. For example,

what we know about Colonel Kurtz in Apocalypse Now is filtered through the accounts that characters share with

Captain Willard long before we meet Kurtz himself. Ask students to apply what they’ve learned in this chapter to

movies they watched for other chapters.

Diegetic and Nondiegetic Elements, p. 261

Focus Apocalypse Now, it might be Walter Murch’s many credits or perhaps the pop music on the soundtrack.

Plot Chronologies: Flashback and Flashforward, p. 265

How is time shaped in this clip from Shutter Island (2010)? What especially important elements of narrative’s time

scheme can you point to?

This Viewing Cue works best as a journal or an essay prompt, enabling students to demonstrate their mastery of

the material and the relevant vocabulary. After they’ve watched the clip on LaunchPad for The Film Experience,

encourage them to locate the same scene in Dennis Lehane’s novel and discuss how Scorsese makes the literary

cinematic.

Narrative Perspectives, p. 269

From what point of view is the narration of this clip from The Royal Tenenbaums (2001)? If not controlled by an

individual, how might the narration reveal certain attitudes about the story’s logic?

Reassign the narrative point of view to a secondary character—say, the late Kumar Pallana’s Pagoda, then ask

the class to describe the plot from his, her, or its perspective in a journal entry. Choose a couple of promising entries

to share in the next class meeting.

Reflexive, Unreliable, and Multiple Narrations, p. 274

What narrative perspective features most prominently in the film you’ve just viewed? If the narration is omniscient

or restricted, how does it determine the meaning of the story?

Classical Film Narrative, p. 276

For the film you will watch next in class, what type of history is being depicted? What does the narrative say about

the meaning of time and change in the lives of the characters? What events are presented as most important, and

why?

Any of the Film in Focus movies would work well with this Viewing Cue. Discussion of national, social, and

personal histories could touch on changing gender and racial roles as well as how perceptions of U.S. history and

foreign policy evolve. For example, when U.S. soldiers riot during a Playboy Bunny extravaganza in the depths of

the Vietnamese jungle in Apocalypse Now, the visual and sonic chaos might reflect the collision between the highly

mediated bodies represented in Playboy and the horrifically real injuries inflicted upon the bodies and psyches of

American servicemen, images of which were broadcast on U.S. evening news every night.

Classical Film Narrative, p. 277

View the clip of the opening of Midnight Cowboy (1969), and consider how it refers to the classical narrative

tradition. What features signal that this film is a postclassical narrative?

While they are very different films, you might consider comparing the opening of Midnight Cowboy to the

TEACHING THE FORM IN ACTION

Nondiegetic Images and Narrative, p. 263

It may be useful to spend a little time discussing the intertitles in Intolerance (1916). D.W. Griffith includes his

authorial signature in the design of the intertitles and creates a rhythm by returning to the quotation from Walt

Whitman. Ask the class how the flexibility of intertitles might lend itself to reaching audiences who speak different

languages. Conduct a poll: Are they more or less distracting than subtitles or dubbing are today? To create context

for the evolution of opening and closing credit conventions, ask them to research Saul Bass or more current title

designers like Kyle Cooper. (Consult www.artofthetitle.com for other possible candidates.) Does it affect our

experience of a film to know that its titles are not the work of the film’s director? Or does it make us feel like

(1986) or by Harry Lockhart in Kiss Kiss Bang Bang (2005)?

TEACHING THE FILMS IN FOCUS

Narration and Gender in Gone Girl (2014), pp. 272–273

Many of David Fincher’s films, such as The Game (1997), Fight Club (1999), Panic Room (2002), and Zodiac

(2007), weave multiple narrative snares. With Gone Girl, Fincher uses reliable and unreliable narration to encourage

and frustrate the viewer’s efforts to unravel the mystery of Amy Dunne (Rosamund Pike), a woman who both speaks

for herself and is spoken for—by her husband, her sister-in-law, a criminal detective, a television personality who

ring leads a media circus. Fincher’s film highlights the gender dynamics of investigation narratives and gives the

viewer privileged access to the female point of view. How would the film change by excluding the extended

sequences with Ann hiding incognito at a nearby campground?

Discussion Question 1: Ask students to choose a character—Nick, Amy, Detective Boney, Margo—what would

change if the film connected exclusively to that character’s point of view?

Discussion Question 2: How does Fincher make use of minor characters, such as Greta and Desi? What interpretive

frameworks do these characters impose on Amy? How does Amy respond to these interpretations?

Classical and Alternative Traditions in Mildred Pierce (1945) and Daughters of the Dust (1991), pp. 278–279

One way to get at how these personal, female narratives differ from one another might be to ask what would

happen if you switched their narrative patterns.

Discussion Question 1: How would Mildred Pierce’s plot structure change if the narrative drifted across the

perspectives of Veda and Monty, too?

Discussion Question 2: If the movie could show only a few days from Mildred’s life, which should they be?

Discussion Question 3: How could Daughters of the Dust be reordered as a linear narrative powered by causal

logic?

Additional Suggestions: Nominally, Pretty in Pink (1986) and Turn Me On, Dammit! (2011) are movies about

adolescent girl outcasts who yearn for unobtainable boys. The former follows a traditional deadline structure leading

to the prom, while the latter orders the plot to convey an impressionistic version of what it feels like to be a

hormonal and horny teenage girl, embellishing its linear narrative about Alma’s romantic crush on Artur with her

lewd fantasies about her friends and even her boss.

ADDITIONAL SUGGESTIONS

Alternative Activity

Imagine a film, such as The Wizard of Oz (1939), in which setting seems to determine plot (“follow the yellow

brick road,” for example) and transpose its characters to the world of another film: a mystery film or a social drama,

for example. How would you design the new setting, and how would you rethink the plot based on a new setting?

Alternative Activity

Another approach would be to describe what would happen if you transposed a talky melodrama or women’s

picture into a fantastic environment like a science fiction film, a western, or a historical epic.

FILMS CITED

About a Boy (2002)

Adaptation (2002)

The Adventures of Robinson Crusoe (1954)

Ali Baba and the Forty Thieves (1905)

Alien (1979)

Babel (2006)

Back to the Future (1985)

Batman v. Superman: Dawn of Justice (2016)

Battleship Potemkin (1925)

Ben-Hur (1907)

Ben-Hur (1925)

Ben-Hur (1959)

The Best Years of Our Lives (1946)

The Birth of a Nation (1915)

The Blue Bird (1940)

Bonnie and Clyde (1967)

The Bourne series (2004–2016)

Bringing Up Baby (1938)

The Cabinet of Dr. Caligari (1920)

Cape Fear (1991)

Daughters of the Dust (1991)

Deadpool (2016)

The Deer Hunter (1978)

Desperately Seeking Susan (1985)

The Devil Wears Prada (2006)

Die Hard series (1988–2013)

Die Hard: With a Vengeance (1995)

Do the Right Thing (1989)

Double Indemnity (1944)

Edge of Tomorrow (2014)

8 ½ (1963)

Eternal Sunshine of the Spotless Mind (2004)

Ferris Bueller’s Day Off (1986)

Fight Club (1999)

Finding Nemo (2003)

Four Rooms (1995)

Gangs of New York (2002)

The General (1927)

Germany in Autumn (1978)

Gladiator (2000)

Glory (1989)

The Ice Storm (1997)

Imitation of Life (1934)

Inglourious Basterds (2009)

Interstellar (2014)

Intolerance (1916)

JFK (2001)

Little Miss Sunshine (2006)

The Lobster (2016)

Lone Fisherman (1896)

Lost in Translation (2003)

The Man Who Knew Too Much (1934)

Meet the Parents (2000)

Memento (2000)

Mildred Pierce (1945)

Milk (2008)

Mulholland Dr. (2001)

My Fair Lady (1964)

Mystery Train (1989)

National Velvet (1944)

9 to 5 (1980)

Ocean’s Eleven (2001)

October (1927)

Oz the Great and Powerful (2013)

Paris, Je T’Aime (2006)

Pather Panchali (1955)

Pirates of the Caribbean series (2003–2017)

Pollyanna (1920)

Pretty in Pink (1986)

Pride and Prejudice (1938)

The Public Enemy (1931)

Pygmalion (1938)

Russian Ark (2002)

Salt of the Earth (1954)

School of Rock (2003)

Se7en (1995)

The Searchers (1956)

The Sheik (1921)

Shutter Island (2010)

The Silence of the Lambs (1991)

Skyfall (2012)

The Social Network (2010)

Son of the Sheik (1926)

Stagecoach (1939)

Sunset Boulevard (1950)

Taste of Cherry (1997)

Taxi Driver (1976)

10 Cloverfield Lane (2016)

Thelma & Louise (1991)

They Shoot Horses, Don’t They? (1969)