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David Bordwell Narration In The Fiction Film Pdf Download

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Similar objections could be raised at later points, especially when Chatman proposes "cinematic narrator" to describe an implicit agency governing narrational devices in film. Here and elsewhere, however, my reservations should be understood as a sign of my full engagement with the book. Chatman is a reasonable and generous thinker who encourages debate, and who writes brilliantly about the novels and films he admires. Among other things, he offers a spirited reassessment of Wayne Booth's concept of the "implied author"; a useful commentary on literary versus cinematic types of narration; a fascinating analysis of "aleatory narrative" in a Benson and Hedges cigarette advertisement; and a provocative discussion of the film adaptation of John Fowles' The French Lieutenant's Woman. In each case, Chatman prompts his readers to rethink their fundamental assumptions. His work is highly recommended for anyone who wants to understand the complex logics and possibilities of narrative. [End Page 430]
Inconclusion, we can speak of adaptation in two instances. The first one dealswith the film adaptation of literary works and is a trans-textual andtransmedial practice. The second meaning of adaption, which I named, ratherpretentiously, the genealogicalanalysis of travelling theoretical models, should be regarded as a workof aesthetics, poetics and art theory. It is this type of adaption that has ledus to think of theories of narration in different types of media or what todaywe call transmedial narration or transmedia storytelling. Like literary themes,concepts are also used and reused, and the displacement of a concept from thetheoretical framework it was originally created in can be a creative practiceand can lead to the birth of new areas of study.
if(typeof performance.mark !== 'undefined')performance.mark("Product_Tabs_loading_start");Related collections and offersProduct DetailsAbout the AuthorTable of ContentsWhat People Are SayingProduct DetailsISBN-13:9780231060554Publisher:Columbia University Press Publication date:02/19/1987Series:King's Crown Paperback SeriesEdition description:Reprint Pages:506Sales rank:916,321Product dimensions: 9.75(w) x 7.50(h) x (d)Age Range:18 YearsAbout the AuthorDavid Bordwell, Janet Staiger, Kristin ThompsonTable of ContentsAcknowledgements Preface Part One: The classical Hollywood style, 1917-60 1. An excessively obvious cinema 2. Story causality and motivation 3. Classical narration 4. Time in the classical film 5. Space in the classical film 6. Shot and scene 7. The bounds of difference Part Two: The Hollywood mode of production to 1930 8. The Hollywood mode of production: its conditions of existence 9. Standardization and differentiation: the reinforcement and dispersion of Hollywood's practices 10. The director system: management in the first years 11. The director-unit system: management of multiple-unit companies after 1909 12. The central producer system: centralized management after 1914 13. The division and order of production: the subdivision of the work from the first years through the 1920s Part Three: The formulation of the classical style, 1909-28 14. From primitive to classical 15. The formulation of the classical narrative 16. The continuity system 17. Classical narrative space and the spectator's attention 18. The stability of the classical approach after 1917 Part Four: Film style and technology to 1930 19. Technology, style and mode of production 20. Initial standardization of the basic tehnology 21. Major technological changes of the 1920s 22. The Mazda tests of 1928 23. The introduction of sound Part Five: The Hollywood mode of production, 1930-60 24. The labor-force, financing and the mode of production 25. The producer-unit system: management by specialization after 1931 26. The package-unit system: unit management after 1955 Part Six: Film style and t

David Bordwell Narration In The Fiction Film Pdf Download

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