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| Fabula is the chronological narrative in its entirety that implicitly stands behind the events depicted (pg. 69) |
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| Syuzhet is the selection and ordering of the actions explicitly presented on screen (pg. 69) |
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| The diegesis is the implied world of the story, including settings, characters, sounds, and events (pg. 67) |
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| extra diegetic devices are elements that exist outside the diegesis such as objective narrator (pg. 67) |
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| The opening scenes of a film, during which a great deal of information about the characters and situation is imparted (pg. 66). |
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| A character’s behavior shaped by earlier experiences (pg. 66) |
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| The story events that take place before the film begins (pg. 66). |
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Flashbacks/Flashforwards:
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Scenes from the past or future (respectively) that interrupt the
film’s present tense, to rearrange the chronology of the fabula (pg. 69). |
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| A characteristic of conventional narrative form, where the conclusion of the film wraps up all loose ends in a form of resolution, though not necessarily with a happy ending. |
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Definition
| A turning point in a film may be signaled by dialogue, setting, and visual or sound techniques; it represents a moment when an important change has occurred that affects a character or situation. |
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Definition
| A technique that consists of a character who narrates an embedded tale to onscreen or implied listeners, which allows for the creation of two distinct diegeses (pg. 73). |
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Definition
| An alternative type of narrative where events are not tightly connected in a cause-and- effect sequence, and characters don’t focus on a single goal (pg. 73). |
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Definition
| The choices made regarding how and when to present information that contributes to the overall story-telling framework of the film (pg. 66). |
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Definition
| An account of a string of events occurring in space and time (pg. 66). Narrative films focus on human characters and their struggles, and characters encounter obstacles to achieving goals. |
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Term
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Definition
| Act 1 contains an exposition leading to a turning point. Act 2 includes complications leading to a climax. Act 3 is the denouement, action leading to a resolution, and closure. (pg. 71) |
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Definition
| Film scholar Kristin Thompson argues that both classical and contemporary Hollywood films show a four-part structure. The parts are roughly equal in length and demarcated by turning points linked to character goals. The main difference is that a four- part structure contains a critical turning point at the midway point of the film (pg. 71). |
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Definition
| is when there is a change from Act 1 to Act 2, which could be signaled by a change in setting or a parallel (pg. 72), Frame narration, and Episodic structure. |
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Definition
include clarity, unity, characters, closure, and unobtrusive craftsmanship.
Many filmmakers choose to break or modify these rules, resulting in lack of clarity, lack of unity, open-endedness, unconventional characterizations, and intrusions. |
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Definition
| Uses the pronoun “I” and limits readers to a single character’s knowledge and understanding (pg. 79). |
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Definition
| Conveys the story from a position outside any single character’s experiences (pg. 79). |
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| An all-knowing third-person narrator (pg. 79). |
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Conveys external events as well as the knowledge, thoughts, and feelings
of one or two major characters without the intervention of an explicit narrator (pg. 79). |
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| Occurs when the audience temporarily shares the visual perspective of a character or group of characters (pg. 80). |
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| A sound and visual technique that presents one or more characters speaking into the camera as if talking to the film audience (pg. 80) |
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