Narratology: How Plots Are Structured in Films
Narration in films
When discussing narration, we always consider who the author is and how he or she chooses to tell the story. As in literature, films have an implied author. However, unlike in literature, the implied author in films is not solely the filmmaker but also the producers, directors, writers and even the actors themselves, as they are also responsible for creating the story in the film as a whole.
Some films feature voice-over narration, where an off-screen narrator, who could also be a character in the story provides an interpretation of the events unfolding on the screen. Voice-over narrators are common in romantic-comedies or coming-of-age stories. The narrator is sometimes the protagonist of the film, but he or she does not necessarily have to be neutral nor is he or she considered as the voice of the filmmaker(s).
Narration differs depending on the style of the movie or the genre. In realistic films, the implied author is virtually invisible as this type of films focuses on letting the events speak for themselves. On the other hand, Formalistic narratives are conspicuously manipulating the storytelling. The formalistic author would mix up the story’s chronology or restructuring events in order to maximize a thematic idea. In formalistic films, the story is told from a subjective standpoint. In classical narration, the author is somewhat more discreet. The maintain the flow of the story from the start to the resolution by discreetly editing boring gaps in the narrative out.
Story vs. Plot
Story refers to the subject matter, that is what the film is about. It’s the dramatic events in chronological order. The plot includes how the author decides to tell the story, particularly the method he chooses in structuring the story to fit his or her aesthetic and perspective. Peter Brooks best defines plot as “the design and intention for narrative, what shapes a story and gives it a certain direction or intention of meaning.”
The Spectator
The spectator is, you guessed it, the audience and they are an integral part of narration. The spectator is always actively interactive with the film’s narrative and play a part in understanding the film’s messages and intentions.
As the audience, we tend to have a set of expectations even before the film starts playing. For example, we expect horror films to have scary monsters and jump scares. Narrative strategies are determined by genre. For instance, in thrillers and mysteries, information is deliberately withheld to create suspense and is usually revealed as a plot twist at the climax of the film.
When the narrative doesn’t follow the conventions or traditions of the genre, it catches our attention and encourages us to raise questions and think deeper on the film’s theme. Or in some cases, reject the film completely.
Classical Narrative
This is probably the most popular type of narrative structure in films, particularly in Hollywood. The classical plot structure is linear and it usually portrays a story of journey. A chase or a search. According to Syd’ Field, the movie should have 10 to 20 “plot points”, major twists or key events in action.a classical screenplay is consisting of three acts:
ACT I — “Set up” — the first quarter of the script. It establishes the dramatic premise; character’s goal and the obstacles they are likely to face
- ACT II — “Confrontation” — the middle two quarters of the story, with a major reversal of expectations at the midpoint. The conflict is complicated with plot twists and an increasing sense of urgency as the main character fights against obstacles.
- ACT III — “Resolution” — the final quarter of the story. What happens as a result of the climactic confrontation is revealed.
The classical paradigm is a set of conventions, not rules, and is based on the conflict between the protagonist and the antagonist. it engages the audience to wonder whether the protagonist will achieve his or her goal in the face of obstacles and struggles/ the conflict is intensified using a rising pattern of action in terms of cause-effect, where each scene links to the next. Conflict and tension are the design and intention of narrative, what shapes a story and gives it a certain direction or intention of meaning.” In short, plot involves the implied author’s point of view as well as the structuring of the scenes into an aesthetic pattern. built continuously until it reaches the climax, where ultimate confrontation between the protagonist and antagonist occurs. The dramatic intensities subside as the two parties reach a resolution. Then a formal closure occurs in the form or a wedding or dance in romantic comedies or death in a tragedy and the film ends. The final shot is usually intended to be some philosophical overview, where the moral or message of the story is implied or summarised.
Common traits:
- In most films that adopt the classical paradigm, sequences often seamlessly transition to the next, producing a coherent and smooth flow of action and a sense of inevitability.
- To add intensity and urgency to the conflict, some sort of deadline is imposed on the characters to intensify the emotion.
- Often features double plot lines. For example, in romance films, a second couple, often the comic relief, is parallel to the main lovers.
- It is not interested in featuring passive characters (people who whom things are done)/ rather they prefer to focus on goal-oriented characters.
Realistic Narrative
Films the utilises realistic narratives often lack “style”, as realists prefer to portray the world as transparently as possible without distortion or mediation. Realism is a style that has an elaborate set of conventions that aren’t obvious. Realist narratives are patterned and manipulated, albeit the filmmaker tries to bury it underneath the surface “clutter” and apparent randomness of the dramatic events. Realist filmmakers order loose, discursive plots, with no clearly defined beginning, middle or end, nor is there an obvious conflict.
The realist narrative structure reflects reality and life so it’s often messily structured. It’s also cyclical or circular in nature. In fact, realist filmmakers take inspiration from the cycles of nature in structuring the plot such as in Yaujiro Ozu’s Late Spring (1949). Others are structured around a limited timeframe, for instance, a school semester, or focuses on rites of passages, such as birth or marriages.
Common traits:
- Slow beginning as it take a while for the main narrative to appear.
- The plot line has” digressions”, and they often parallel the main plot, though it isn’t explicitly revealed.
- The implied author is not intrusive and reports objectively and avoids making judgements
- Narrative avoids using clichés, stale conventions and predictable characters. Rather opting for unique, and specific elements
- Prefers an exposé subject matter that has a shocking factor
- Has an anti-sentimental perspective — no happy endings and or false optimism
- Favours understatement and dedramatization over melodrama and overexaggeration
- Realist filmmakers don’t believe in destiny or fate. They. Focus on the scientific perspective on causality and motivation
- Prefers plain, straightforward presentation of plot– no musical number interruptions.
Recommended films: Chinatown (1974) dir. by Roman Polanski, Late Spring (1949) dir. by Yasujiro Ozu
Formalistic Narrative
Films that feature a formalistic narrative are luxuriously artificial. To promote their themes, time is overtly scrambled and rearranged. The plot’s design is heightened rather than concealed and in fact part of the show. Plots in formalistic films are structured depending on the filmmaker’s theme. For instance, some of Alfred Hitchcock’s films explore the themes of “doubles” and the “wrong man” who is falsely accused. — such as is in his film The Wrong Man. Unlike realist filmmakers, authors of formalistic films intrude on their stories, in such a way that their own personalities are evidently part of the show. Some great examples are Buñuel’s films and Godard’s “cinematic essays”.
It is common for lyrical interludes to interrupt the forward movement of the plot. A good example is Fred Astaire-Ginger’s musical numbers. Formalistic narratives are commonly used in stylised genre films like musicals, sci-fi and fantasies.
Recommended films: Mon Oncle d’Amerique (1980) dir. by Alain Renais, The Discreet Charm of the Bourgeoisie (1972) dir. by Luis Buñuel.
Nonfictional Narratives
Documentaries and avant-garde films feature nonfictional narrative. Although they don’t tell made up stories or have plots, they are just as structured as their fictional counterpart. Instead, they report facts, real people and events occurring in the existing world. The structure in nonfictional narratives depend on the instincts of the filmmaker and they tend to follow a particular theme or argument. It is often simple and unobtrusive. Documentarist prefer to focus on the subject matter rather than the style of the film.
Cinema verité or direct cinema is movement in the 1960s, in which the filmmaking style involves the use of improvisation to capture candid moments of people and events in the every day. this type of filmmaking allows for a quick way to capture stories and eventually led to a new philosophy of truth in documentary cinema. This style disregards planning and detailed scripts before shooting. In cinema verité, it’s vital that the filmmaker does not control the events in any way to keep it organic and crude. Thus, reenactment and recreations even with the people involved is unacceptable. When it comes to editing and sound, minimalism is the key and if possible actual time and space should be preserved.
Traditional formalistic documentaries build their stories thematically, such that the events of the story are arranged to illustrate a thesis, even if, as in some case, the arrangement of some sequences and shots do not quite make sense or logic. In short, the film’s structure is based on the filmmaker’s argument not the chronological order of events.
On the other hand, it is difficult to pinpoint a general structure for avant-garde films, especially since some of these movies don’t tell a story. Instead, these films feature an autobiographical element. For avant-garde filmmakers, they favour expressing their personal experiences and subjective involvement with people and ideas. Moreover, these artist value spontaneity in their films. Hence, just like documentarist, they don’t use scripts or plan out their shots.
Recommended films: Welcome to Sarajevo (1997) dir. by Michael Winterbottom, March of the Penguins (2005) dir. by Luc Jacquet, Law and Order (1969) dir. by Frederick Wiseman
Other film structures worth exploring
Circular: the film starts and ends at the same moment in the story, i.e the film ends right back where it started.
Fabula/Syuzhet: Fabula is the story in the chronological order of events while, Syuzhet (plot) refers to how the story is told, specifically what element the filmmaker chooses to relate those events and tell the story
Hyperlink: similar to the multiple timeline structure, except each linear storylines interconnect and have the same resolution in the end.
Rashomon: Derived from the 1950 movie of the same title, the Rashomon effect consists of several characters who have experienced the same single event and recounting it, offering different perspective on the same story.
Real-time: a seamless uninterrupted stream of events. That means no cuts, no flashbacks, no time jumps. this creates an unfiltered storyline in which every captured moments is important.
Reverse chronological: not exactly going back in chronological order from end to beginning but rather sectioning the plot and organising the story from the end to the start while still maintaining audience’s interest and curiosity.
Multiple timeline: two or more linear storylines are told in parallel to each other. They are often connected by the same themes or emotions but are not necessarily connected directly nor do each story have to affect one another.
Non-linear: no particular cause and effect pattern rather the story jumps back and forth or even sideways.
Oneiric: uses dream-like aesthetics to display stories revolving around dreams, human consciousness and memories.
Disclaimer: Any views and opinions expressed are personal and solely belong to the authors. They are not intended to malign any religion, ethnic group, club organisation, company, individual or anyone or anything.
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