film ch 8: Narratology & The Spectator

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film ch 8: Narratology & The Spectator
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2013-11-07 22:04:41
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  1. What are two types of fictional narratives?
    • mimesis (showing)
    • diegesis (telling)
  2. What does mimesis mean?
    • showing
    • the province of the live theater, where the events "tell themselves"
  3. What does diegesis mean?
    • telling
    • the province of the literary epic and the novel, is a story told by a narrator who is sometimes reliable and sometimes not.
  4. Narratology refers to...
    a study of how stories work, how we make sense of the raw materials of a narrative, and how we fit them together to form a coherent whole
  5. (1)___________ is also the study of different (2)_________ structures, storytelling strategies, aesthetic conventions, types of story genres, and their symbolic implications
    • 1. Narratology
    • 2. narrative
  6. In traditional terms, narratologists are interested in the (1)"________" of storytelling; that is the (2)_____ that "message senders" use to communication with "message receivers."
    • 1. rhetoric
    • 2. forms
  7. In American cinema, the traditional term of a narratologist is a problem because...
    a film is not created by a single storyteller and is instead a collaboration pieced together by the producers, directors, writers and stars.
  8. The narration of a (1)_________ film has the implied author nearly (2)_________ as the events (3)"_____ for __________ , unfolding on its own and in a (4)_____________ ordered sequence.
    • 1. realistic
    • 2. invisible
    • 3."speak for themselves"
    • 4.chronological
  9. For the narration of (1)_________ structures, the audience is generally aware of a shaping hand in the storyline. Gaps that would otherwise be boring, are edited out by a (2)________ storyteller, who keeps a (3)___ profile yet still keeps the action on track, moving toward a specific destination - the resolution of the story's central conflict.
    • 1. classical
    • 2. discrete
    • 3. low
  10. In (1)___________ narratives, the author is overtly manipulative, sometimes scrambling the (2)__________ of the story or (3)___________ or (4)_____________ events to maximize a thematic idea.
    • 1. formalistic
    • 2. chronology
    • 3. heightening
    • 4. restructuring
  11. Narratology is often (1)______, and occasionally (2)________________, because of its (3)________ language and (4)______.
    • 1. arcane
    • 2. incomprehensible
    • 3. abstract
    • 4. jargon
  12. What is the difference between a story and it's plot structure can be expressed in what ways?
    • Story v Discourse (favored by Americans)
    • Histoire v Discours
    • Mythos v Logos
    • Fabula v Syuzhet
  13. What is the difference between story and plot?
    • Story: general subject matter, raw materials of a dramatic action in chronological sequence
    • Plot: the storyteller's method of superimposing a structural pattern over the story
  14. (1)____ involves the implied author's (2)_____ of ____ as well as the (3)___________ of the scenes into an (4)_________ pattern.
    • 1. Plot
    • 2. point of view
    • 3. structuring
    • 4. aesthetic
  15. In the American cinema, the (1)_____ reigns supreme, while all the other language systems are subordinated to the (2)____.
    • 1. story
    • 2. plot
  16. Narrational strategies are determined by _____.
    genre
  17. Film narratives that thrive on suspense will deliberately withhold (1)___________, forcing us to (2)_____ and (3)____ in the (4)______.
    • 1. information
    • 2. guess
    • 3. fill
    • 4. blanks
  18. Film narratives about a romantic comedy has the expectation of what the (1)_______ will be in advance; however, the emphasis is on (2)___ boy wins girl (or vice versa) and not if he or she wins.
    • 1.outcome
    • 2. how
  19. Our _____ knowledge of a film's star also defines its narrative parameters.
    prior
  20. With personality stars, the audience can guess the (1)_________ nature of a film's narrative in (2)_______.
    • 1. essential
    • 2. advance
  21. Audiences (1)_____ a film in (2)_______ by the (3)____________ of its title.
    • 1. judge
    • 2. advance
    • 3. connotation
  22. The more (1)_______ the plot, the more (2)_______ the audience must be - sorting, sifting, weighting new evidence, inferring motives and explanations, ever suspicious of being taken off guard.
    • 1. complex
    • 2. cunning

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