MTU Cork Library Catalogue

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Narrative comprehension and film / Edward Branigan

By: Branigan, Edward, 1945- [author].
Material type: materialTypeLabelBookSeries: Sightlines (London, England): Publisher: London ; New York : Routledge, 1992Description: xv, 325 pages : illustrations ; 25 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 0415075122 (paperback); 0415075114 (paperback).Subject(s): Motion pictures and literature | Narration (Rhetoric) | Motion picture plays -- History and criticismDDC classification: 791.4375
Contents:
Narrative Schema -- Psychological use value -- Logical transformations in narrative -- Pragmatic forms in narrative -- Cognitive schemas and other ways of associating data -- A proposal for a narrative schema -- The Girl and Her Trust -- Causality and schema -- Story World and Screen -- A preliminary delineation of narrative in film -- Top-down perception -- Temporal and spatial order -- Causality and metaphor -- Impossible story space -- Screen space and stylistic metaphors -- Narration -- Knowing how -- Disparities of knowledge -- Hierarchies of knowledge -- Nick Fury as an example -- Forgetting and revising -- Levels of Narration -- Eight levels -- An implied author and a chameleon text -- Focalization -- Communication -- Text under a description -- A comprehensive description of narrative -- Five types of narrative theory – Subjectivity -- Levels in Hangover Square -- Separation of material and structure -- What makes film subjective? A case study of Lady in the Lake -- A synthesis: telling/showing/summary/scene -- Subjectivity in narrative theories -- How many cameras are in a film? -- Objectivity and Uncertainty -- From subjectivity to intersubjectivity -- The historical present of invisible observation -- Simultaneous time schemes -- Flashback -- Multiplicity in Letter from an Unknown Woman – Fiction -- Fiction as partially determined reference -- Psychologically real theories of fiction -- Fictional pictures -- Nonfictional pictures -- Post-modernism and documentary in Sans Soleil -- A brief conclusion.
Summary: Narrative is one of the ways we organise and understnad the world. It is found everywhere: not only in films and books, but also in everyday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, attorneys and many others. Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analyses of classical narratives form the basis of a complex study of every aspect of filmic fiction exploring, for example, subjectivity in Lady in the Lake, multiplicity in Letter from and Unknown Woman, post-modernism and documentary in Sans Soleil.
Holdings
Item type Current library Call number Status Date due Barcode Item holds
General Lending MTU Crawford College of Art and Design Library Lending 791.4375 (Browse shelf(Opens below)) Checked out 04/03/2024 00230984
Total holds: 0

Enhanced descriptions from Syndetics:

Narrative is one of the ways we organise and understnad the world. It is found everywhere: not only in films and books, but also in everday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, attorneys and many others.
Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analyses of classical narratives form the basis of a complex study of every aspect of filmic fiction exploring, for example, subjectivity in Lady in the Lake, multiplicity in Letter from and Unknown Woman, post-modernism and documentary in Sans Soleil.

Includes bibliographical references (pages 218-306) and index.

Narrative Schema -- Psychological use value -- Logical transformations in narrative -- Pragmatic forms in narrative -- Cognitive schemas and other ways of associating data -- A proposal for a narrative schema -- The Girl and Her Trust -- Causality and schema -- Story World and Screen -- A preliminary delineation of narrative in film -- Top-down perception -- Temporal and spatial order -- Causality and metaphor -- Impossible story space -- Screen space and stylistic metaphors -- Narration -- Knowing how -- Disparities of knowledge -- Hierarchies of knowledge -- Nick Fury as an example -- Forgetting and revising -- Levels of Narration -- Eight levels -- An implied author and a chameleon text -- Focalization -- Communication -- Text under a description -- A comprehensive description of narrative -- Five types of narrative theory – Subjectivity -- Levels in Hangover Square -- Separation of material and structure -- What makes film subjective? A case study of Lady in the Lake -- A synthesis: telling/showing/summary/scene -- Subjectivity in narrative theories -- How many cameras are in a film? -- Objectivity and Uncertainty -- From subjectivity to intersubjectivity -- The historical present of invisible observation -- Simultaneous time schemes -- Flashback -- Multiplicity in Letter from an Unknown Woman – Fiction -- Fiction as partially determined reference -- Psychologically real theories of fiction -- Fictional pictures -- Nonfictional pictures -- Post-modernism and documentary in Sans Soleil -- A brief conclusion.

Narrative is one of the ways we organise and understnad the world. It is found everywhere: not only in films and books, but also in everyday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, attorneys and many others. Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analyses of classical narratives form the basis of a complex study of every aspect of filmic fiction exploring, for example, subjectivity in Lady in the Lake, multiplicity in Letter from and Unknown Woman, post-modernism and documentary in Sans Soleil.

Reviews provided by Syndetics

CHOICE Review

Cognitive science was introduced into film studies by David Bordwell, Noel Carroll, Edward Branigan, and others in an attempt to provide alternatives to models of spectatorship and theories of narration developed by psychoanalytic and semiotic theory in the 1970s. Branigan's latest book looks at the process of narrative comprehension in film in terms of systems of causality and mental activity which understand the cinema not as a language but as a duplication of mental processes. Much as the mind ^D["reads^D]" experience and the world as a kind of narrative, the cinema engages spectators in sense-making endeavors in which the mind discovers cause and effect relationships that constitute a cohering narrative. The book reviews theories of ^D["narratology^D]" and narrative comprehension; the roles played by space, time, and causality in the construction of narratives; the relationship of narration to point of view; questions of narrative organization; and narration in nonfiction, documentary film. Films discussed include Griffith's The Girl and Her Trust, Lang's Dr. Mabuse, the Gambler, Hitchcock's The 39 Steps and The Wrong Man, Welles's The Lady from Shanghai, Brahm's Hangover Square, Ophuls's Letter from an Unknown Woman, Montgomery's Lady in the Lake, and Marker's Sans Soleil. Advanced undergraduates.

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