Narrative form and structure in microfilm
- Predecessor of microfilm
In 1959, Jean-Luc Godard issued a provocative yet ambivalent declaration about the short film and its “essence.” He said it had none. Writing for Cahiers du Cineacute;ma in his capacity as reviewer of the French Festival of Short Films at Tours, and in his typically acerbic and cheeky way, Godard both dismissed the short film and then recuperated it. He first insisted that critics were “wrong to believe in some special function of the short film” and, speaking for his Cahiers colleagues too, he confessed: “none of us has ever believed that on the one hand there was the short film with its principles and aesthetic possibilities, and on the other the feature, with other principles and other aesthetic possibilities.”
His reasoning seems to have been that the short filmrsquo;s brevity prevents it from dealing “in depth” with a subject because, in comparison to the feature-length film, “a short film does not have the time to think.” In other words, he seemed to consider the formrsquo;s chief limitation to be its inability to provide access to character subjectivity and depth of knowledge. He therefore concluded that the short film functions as “anti-cinema,” like the “antibody in medicine,” C. Felando, Discovering Short Films to strengthen the “cinema.”
Differences from the feature-length film suggest the challenges other critics and short film writers have encountered in their own work. Indeed, writers have been compelled to specify the differences between shorts and features by means of various analogies that, while not as bold as Godardrsquo;s “antibody,” refer to other forms, especially literary and visual ones. Jack Ofield, for example, emphasizes the issue of scale in his suggestion that “The short film is to the feature film what chamber music is to the symphony, haiku to epic verse, the miniature to the mural.”2 Likewise, Ian Lewis observes that short films are “not just long films that are short. If a conventional feature film is like a novel or a symphony, then a short is more like a short story—or even a poem, [or] a song. A short story is not just a novel in 15 pages instead of 250. The form is quite different. The aims are quite different.”3 Most common, by far, are analogies between the short film and the short story. Unfortunately, in most cases, analogies are deployed as though the differences they are meant to illuminate are self-evident, so claims about the short film like “the form is quite different” are not explained further. That is, other than suggesting broad differences related to size, running time, or length, those that involve issues related to storytelling in particular usually remain unaddressed. The examination of the short filmrsquo;s specificity is substantially assisted by the work of short story theorists, especially by their discussions of short form storytelling and the identification of unity as one of the storyrsquo;s most distinctive components.
- Narrative form and structure in microfilm
- Where can we find them besides Microfilm? Narrative form and structure appears throughout media and society. Novels , plays, comic books , television shows and even adverts will contain a form of narrative. They are most common in fiction film however they appear in all basic types of film regardless.
- Unfolding of events A narrative is the telling of a string of a events occurring in space and time. Narratives do not simply unfold from random information, they are presented to an audience as an ordered series of events that are connected by the logic of cause and effect. This logic of cause and effect ties together character traits , goals, obstacles and actions. The basic order of events in a microfilm is as goes: Exposition , rising action, climax, falling action, denouement. Typically a narrative begins with one situation (exposition). A series of changes occurs according to a pattern of cause and effect . Finally, a new situation is formed via character choice and conflict that restores equilibrium to the original diegesis and brings about the end of the story. The new story equilibrium almost always results in character change.
- Character development Characters are constructed by their attitudes towards other characters , group associations , a representative image , and their reactions to conflict. There are two type of characters within film, lsquo;flatrsquo; and lsquo;roundrsquo; . Flat characters are those that are minor who do not go through any substantial change throughout the story . Round characters are more developed characters who may experience a change during the story. Character traits are also a factor in the development of them. Traits are like attitudes , skills , habits , tastes , psychological drives and any other qualities that distinguish a character . Traits are often introduced in opening sequences and are relevant to later scenes. This is also related to cause and effect. Another aspect is the characters choices and goals – characters create cause and effect through their choices that lead to conflict and consequences. These patterns are designed so that the viewer clearly sees and understands them. Goals might include locating a treasure , choosing a new life or looking for love. Characters encounter obstacles in pursuing these goals and the collision of goals and obstacles create conflict thus drama.
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“Microfilm build atmosphere and characters so richly and fast that when the climax of the film comes it doesnrsquo;t even have to be shown because by then the audiencersquo;s imagination has already filled in the gaps.” This article talks about how within Microfilm the main aim is for the narrative to be simple and the way in which the director portrays it to an audience adds all the complexity. In addition, the director does not have time to have a wide storyline in the Microfilm. Therefore their only option is to take a small subject and build upo
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微电影中的叙事形式与结构
1．微电影的前身
1959年，让 - 吕克戈达尔发表了关于短片及其“本质”的挑衅但矛盾的宣言。他说它没有。作为法国电影节短片评论家，为CahiersduCineacute;ma作为法国短片电影节评论家的写作，以及他典型的尖刻和厚颜无耻的方式，戈达尔都解散了这部短片，然后将其恢复原状。他首先坚持认为评论家“错误地相信短片的一些特殊功能”，而且，对于他的Cahiers同事而言，他承认：“我们都没有人相信一方面短片有其原则和美学可能性，以及其他原则和其他美学可能性。
他的推理似乎是短片的简洁性使它无法与主题“深入”交涉，因为与特征长度的电影相比，“短片没有时间思考。”换句话说，他似乎认为形式的主要局限在于它无法提供角色主体性和知识深度。 因此他得出结论，短片的作用是“反电影”，如“医学中的抗体”，C.Felando，发现短片以加强“电影”。
与长篇电影的不同之处表明，其他评论家和短片作家在自己的作品中遇到了挑战。事实上，作家们不得不通过各种类比来指明短片和特征之间的差异，虽然不像戈达尔的“抗体”那么大胆，但是指的是其他形式，尤其是文学和视觉形式。例如，杰克菲尔德在他的建议中强调了规模问题，“短片是电影中的室内乐，交响曲是什么，俳句到史诗，是壁画的缩影。”同样，伊恩·刘易斯观察到这部短片“不仅仅是长片短片，如果传统故事片就像小说或交响乐，那么短片更像是一个短篇小说，甚至是一首诗，或是一首歌。一个简短的故事不仅仅是15页而不是250页的小说。形式完全不同。目标是完全不同的。“到目前为止，最常见的是短片和短篇小说之间的类比。不幸的是，在大多数情况下，类比被部署，好像它们意图阐明的差异是不言而喻的，因此关于短片的说法如“形式完全不同”没有进一步解释。也就是说，除了提出与大小，运行时间或长度相关的广泛差异之外，涉及与讲故事相关的问题的那些通常仍未得到解决。本章的目的是考虑短篇小说电影中最常见和具体的元素，尤其是那些与统一，性格和结局相关的元素。对短篇小说的特殊性的审视在很大程度上得益于短篇小说理论家的工作，尤其是他们对简短故事叙述的讨论以及将统一视为故事中最独特的组成部分之一。
2．微电影中的叙事形式与结构
除微电影外，我们在哪里可以找到它们？叙事形式和结构出现在整个媒体和社会中。小说，戏剧，漫画书，电视节目甚至广告都将包含一种叙事形式。它们在小说电影中最常见，但无论如何它们都出现在所有基本类型的电影中。
2.1．事件的展开
叙事是指在空间和时间发生的一系列事件。叙事不是简单地从随机信息中展开，而是作为一系列有序的事件呈现给观众，这些事件通过因果逻辑联系起来。这种因果逻辑将性格特征，目标，障碍和行动联系在一起。微电影中事件的基本顺序如下：开端，发展，高潮，缓和，结局。通常叙述从一种情况（说明）开始。根据因果模式发生一系列变化。最后，通过角色选择和冲突形成了一种新的情境，恢复了与原始模式的平衡，并带来了故事的结束。新故事平衡几乎总会导致人格改变。
2.2．角色的发展
角色是由他们对其他角色，群体联想，代表性形象以及他们对冲突的反应的态度构建的。电影中有两种类型的角色，“扁平”和“圆形”。扁平人物是那些在整个故事中没有经历任何重大改变的人。圆形角色是更加表现角色，可能会在故事中经历变化。性格特征也是它们发展的一个因素。特征就像态度，技能，习惯，品味，心理驱动以及区分角色的任何其他品质。特征通常在开场序列中引入，并且与后面的场景相关。这也与因果有关。 另一个方面是角色的选择和目标，角色通过他们的选择创造因果，导致冲突和后果。这些模式的设计使观众能够清楚地看到并理解它们。目标可能包括寻找宝藏，选择新生活或寻找爱情。人物在追求这些目标时会遇到障碍，目标与障碍的碰撞会产生碰撞，从而产生冲突。
“微电影构建氛围和人物如此丰富和快速，当电影的高潮来临时它甚至没有必要显示，因为到那时观众的想象力已经填补了空白。“本文讨论了微电影中的主要目的是如何使叙事变得简单，以及导演将其描述给观众的方式增加所有复杂性。此外，导演没有时间在微电影中有广泛的故事情节。因此他们唯一的选择是通过让观众对某些事件有自己的解释来拍摄一个小主题并在此基础上进行构建。
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