...Film Form and Analysis Cinematography Cinematography describes the process by which a film strip is exposed to light to create an image. It encompasses many factors: the camera’s distance from the action, camera angle and direction, type of lens, camera movement, and lighting, among others. The art of cinematography also includes mise-en-scène—the arrangement of objects and movements in the frame. Shot Types The amount of visual information included in the image depends on the distance of the camera from the action and on the focal length of the camera lens. Throughout the history of cinema, filmmakers have favored certain combinations of camera distance and focal length, or shot types. * Extreme long shot: Captures a scene in its entirety; used for establishing location in exterior shots. Used frequently in epic genres such as westerns and war films, it reduces human beings to mere dots on the screen. * Long shot: Accommodates at least the entire bodies of figures (if that is all the shot includes, it is called a full shot). Captures movement, background, and broad gestures and expressions. * Medium shot: Contains a figure from the waist or knees up. It is a functional shot, favored in classical Hollywood editing, often used for scenes with dialogue. * Close-up: Includes very little if any background, concentrating on an object or, if an extreme close-up, a fragment of an object, such as the human face. Close-ups often accord great significance and symbolic...
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...What factors affect reading? | | | | | | * A non-encouraging reading home environment * A non-encouraging reading classroom environment * Vision problems * Lack of interest in the book * Hearing - Speech impedement, Hard of Hearing, or deafness * Lack of background knowledge * Lack of strong vocabulary base * Gender * Intelligence with the ability to 1) learn, 2) problem solve, or 3) see relationships in reading * Language differences/Dialect/Cultural difference | | In Preventing Reading Difficulties in Young Children, Snow, Burns, & Griffin (1998) presented a synthesis of research on the conditions that contribute to successful reading. The authors identified the following factors as predictors of success and failure in reading: Physical and Clinical Factors | Predictors of School Entry | Acquired Knowledge of Literacy | Family-based Risk Factors | Neighborhood, Community, and School-based Factors | Cognitive deficienciesHearing problemsEarly language impairmentAttention deficit/hyperactivity disordersVision problems | Acquired proficiency in languageVerbal memoryLexical and syntactic skillsOverall languagePhonological awarenessOral Vocabulary | Reading readinessLetter identificationConcepts of printPhonemic awareness | Family history of reading difficultiesHome literacy environmentOpportunities for verbal interactionHome language other than EnglishUse of a nonstandard dialect of English in the homeSocioeconomic status | Environmental...
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...The Narrative Art of The Great Gatsby Introduction The Great Gatsby was written in 1925. The author, Francis Scott Fitzgerald (1896-1940) is one of the most outstanding writers in America. As a member of the “lost generation”, Fitzgerald made the short life of Gatsby epitome of the rise, boom and decline of the “American Dream” in “Jazz Age”. This novel shows us unusually rich literary and aesthetic connotation is has by its unique narrative perspective, the ups and downs of plot, superb accurate language, various rhetorical devices and vivid character images. To some extent, the reason why The Great Gatsby can become a famous classic work is that the author uses extraordinary narrative techniques in it. All the techniques are employed skillfully by Fitzgerald. The study of narrative art in this work has been highlighted in the research area in these years. Zhang Jinfeng(2001) analyzes the role of Nick in the novel from the its structure, themes and other aspects. Cheng Xilin(2009) uses the spatial narrative theory to discussed the space narrative art in The Great Gatsby from three aspects: the geography space, social space and the text space. Xiao Dongbo(2009) starts with the analysis on author and characters and expound the connotation of "American dream" and profoundly reveals the historical process of the formation, development and burst of the "American dream". Shang Guanghui(2011) analyzes The Great Gatsby from the narrators of the role and argues that the communication...
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...Discuss the use of imagery in two stories of your choice. How do the various images work in a particular story to bring its subject matter into focus? Is there a central image? And how does this enhance or confuse or complicate the effect of the story? Short fiction can be seen as a literary medium through which the writer concisely creates a story that is almost as fleeting in its detail, as it is in its length of words. Imagery can be used in varying manners depending on what the writer is trying to achieve. In the short story ‘Sleepy’ by Anton Chekhov, we see a more vivid and palpable type of imagery that’s almost figurative and has the ability to lull the reader into sharing the protagonist’s feelings rather than just her surroundings. On the contrary, Katherine Mansfield’s ‘Her First Ball’, utilises strong, descriptive imagery that paints the setting, and the events occurring within, rather than bluntly focusing on the feelings associated with them. In ‘Sleepy’, Chekhov successfully evokes a strong feeling of the setting without being superfluous in his description. He provides an image of the tiny room at the beginning of the story and reinforces it throughout. In doing so, Chekhov portrays Varka’s painfully scarce reality to emphasise the huge contrast between the immediate scenario and the imagery describing her flustered dreams. It’s Varka’s need for sleep that seems to be the subject matter throughout the narrative, her exhaustion and inability to stay awake and...
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...throughout the story. The suspense adds to the thrill and amusement of reading it, therefore making it an enjoyable story. One of the many ways “Gore” uses suspense are the moments of uncertainty and unknown that are created. An example of one of these suspenseful moments is when the author states “There are two, no, three of them. The faces are hooded and I only catch a glimpse but it is enough to make me step back in horror [...] They are inside. They are silent.” (Ellis 5). This moment is especially suspenseful as the reader is uncertain and does not know what these creatures are, or why they are here. It is unknown why they are horrendous and hooded and why they are entering Amy and Lucas's house, thus creating the effect of...
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...gothic novel has many elements, some of which can be easily identified; the gloomy tone, the strange, mysterious events. Some of the more difficult elements to recognise may be the different layers of reality, or the way the story is told . The Turn of The Screw is a perfect example of a gothic novella; it has all the above elements, which are cleverly implemented throughout the text. One of these elements is James’ use of the frame narrative. I will be discussing the frame narrative and narrators, with particular focus on Douglas, and how it affects the governess’ story. The Turn of The Screw; a novella in which one thinks less about the literary techniques, or the writing style, but more about the story itself. One finds oneself asking; are the ghosts real? Is the governess insane? Is it a conspiracy? We, as the reader need to take a closer look at the text to identity and analyse the techniques, the words, the imagery that gives the story its mystery and intrigue. One such technique is the use of a frame narrative, we hear the story from the unnamed narrator, Douglas and then from the Governess. We know very little about any of the narrators, however, perhaps the narrator that stands out most is Douglas; he is our link to the Governess and her story. Although we are not given much information on Douglas, he is very cleverly used by James. He is the only person present who knew the governess, and the similarities between him and Miles are thought provoking. They are both...
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...The narrative voice often means everything for a story. Some stories want to be very personal, while others want you to see a much broader picture than just one character's feelings. Many authors use different narrative voices to take advantage of their effects. There is not an exception in Ambrose Bierce’s story, “An Occurrence at Owl Creek Bridge”, where the author varies the point of view multiple times. Bierce is consistent in the way that he uses third-person, yet it’s form switches throughout the story. The effects of Ambrose Bierce’s variety of narrative voice in “An Occurrence at Owl Creek Bridge” are many diverse thoughts, sometimes causing very little feeling toward the main character, Farquhar, while other times the voice causes...
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...represented in his lack of disruption to the forest, as the only wood he would chop was ‘the dead branches’. Angela Carter however emphasis the negatives of what the Green Man represents in ‘The Erl-King’ as being a reincarnation of the devil. This is shown through his desire to entrap young girls through the enchantment of the forest, which he abuses in his favour as the protector of nature. Erl-king is perceived as a serial rapist as the birds in cages represent the young girls he raped before and once they grew to love him he would then turn them into birds and trap them in cages. Narrative Form The narrative voice of ‘The Erl-King’ is constantly shifting, as with ‘Wuthering Heights’. The reader is positioned in a variety of ways through the changing perspectives of third, second, and first narrative, which has an unsettling effect in ‘The Erl-King’. This is not Carter’s first time shifting the narrative voice in ‘The Bloody Chamber’...
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...Using Narrative Text in the Secondary Classroom Once upon a time, in a school, very much like your own, American History and all its contents were studied alongside tales of triumph, and defeat. In this history class, the students supplemented curriculum delivered through lectures and textbooks, with materials from sources such as diary entries, editorials, and historical fiction. This is an example of how narrative text can coexist with expository information found in content area classrooms in today's high schools. While the need for expository text is vital to the success of a student to understand the content (i.e., Social Studies) curriculum, narrative literature and various other texts are a great way to supplement the learner with information from which they can draw a better understanding of the state standards. Explained below is a definition of narrative literature, advantages and disadvantages of using narrative text in the high school Social Studies classroom, and five possible uses for using narrative texts in the high school classroom. Narrative Literature Narrative literature can be both fiction such as novels, as well as non-fictional works such as memoirs (Burke). Often, narrative literature includes many of the following: a plot, character, problems, and themes. In fictional work, one generally finds a setting, with a beginning, a reaction, and an ending (Roe, Stoodt-Hill, & P. C. Burns, 2004). Narrative literature can, and does exist on its own in...
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...structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount events as they actually happened, but writers of fictional stories depart...
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...Narrative Has a point Moral or lesson to be learned Chronological series of events. IE: timeline Descriptive Sensory 1. Introduction 2. Narrative a. Purpose i. A narrative essay tells a story. It can be fact or fiction, however it does tell a story. Generally speaking the story has a meaning of sort. Narratives are interesting and creative ways to teach a moral to others. In the Narrative I want a Wife, Brady tells a story when her friend, a man, came to her house and made a comment that he wanted another wife. Thinking about what her friend had said, she decided that she would like the same. (Brady, 1971) b. Plot in a chronological series of events ii. The moral of a narrative is what would drive the plot. The plot of a narrative should be in a distinct chronological order. This makes the narrative easy to understand and easy to follow. The chronological order of narratives are mostly in a timeline effect. 1st this happened, then this happened, then something else happened. Or I said this to Bob. Bob replied with this. I did this after Bob’s response. Whether it be in chronological, spatial or built oin dramatic order, the structure of narratives are always easy, and clear to follow. iii. c. Creative tension iv. A good Narrative also contains creative tension. Creative tension will allow the write to build up the reader in suspense. Sometimes, the creative tension actually compels the reader in...
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...A Labovian Analysis of Ernest Hemingway’s The Faithful Bull Ernest Hemingway and his love of bullfighting require no formal introduction, however his short story, The Faithful Bull, is less well known. It is essentially a fable having been written for the child of a friend and published in 1951. Twenty-one years later, the famous linguist, William Labov laid out a framework outlining the progression of oral narratives in a six-part structure. The advantage of this Labovian method of analysis is that it can also be applied to literary narratives in general, not just to oral versions of personal experience. Using Hemingway’s 700-word fable, written in his inexorable, economic style and applying Labov’s six-part model (abstract, orientation, complicating action, evaluation, result, coda), I intend to confirm the suitability of this form of analysis for the short story. The abstract of the narrative announces the initiation of a narrative and can, in effect, report the entire sequence of events, outlining the story. An abstract is not however an essential part of a narrative and can be omitted. A true explanatory abstract has no place in The Faithful Bull, it being a short story, but it does have a title. This three-word title does actually tell us very briefly what the story is about; a specific bull who is faithful and in this way, the title fulfils the norms of an abstract, albeit in a very transient way. It stimulates the addressees’ curiosity and focuses their...
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...Journal of Health Communication, 13:667–680, 2008 Copyright # Taylor & Francis Group, LLC ISSN: 1081-0730 print/1087-0415 online DOI: 10.1080/10810730802412248 Interrupting a Narrative Transportation Experience: Program Placement Effects on Responses to Antismoking Advertising SARAH DURKIN AND MELANIE WAKEFIELD Centre for Behavioural Research in Cancer, The Cancer Council Victoria, Melbourne, Victoria, Australia It is thought that ‘‘transportation’’—absorption into the narrative flow of a story— may play a role in influencing resistance to persuasion. We hypothesized that advertising that disrupts the experience of narrative transportation may be adversely appraised by audiences. This study aimed to explore the influence of two types of television programs: narratives (dramas, comedies, and soap operas) versus nonnarratives (light entertainment, sports, documentaries, and news), on smokers’ reactions to antismoking advertisements. In preexposure interviews, daily smokers (n ¼ 779) were asked to watch a particular television program they usually watched. Postexposure interviews were conducted within 3 days of exposure. Results indicated that placing an antismoking ad within a program in which the viewer is focused on the narrative flow of a story may lead to reduced immediate cognitive and emotional impact of the ad and reduced intentions to quit, especially among those for whom the ad is most relevant, such as those preparing to quit smoking. Placing antismoking advertising...
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...Given the eponymous brevity of short stories, authors have very limited space in which to draw the reader into the world that they have created as to impart the desired effect or feeling in them. In this respect, the careful use of detail and the emphasis on a single character are very important to any short story. Each word describing something outside of, or tangential to, the main point of the story and its protagonist therefor detracts from the final effect that the story has on the reader. The proper use of detail in a short story, from intricate descriptions of settings to the choice of individual words, allows for the atmosphere, setting and mood of the story to be effectively established, and serves to draw the reader into the world of the story, making them a silent, incorporeal character in the narrative. In “The Yellow Wallpaper” Gilman uses detail in a highly effect manner, telling the reader only what they absolutely need to know, leaving the rest unspoken. The period of the story is set by the relationships between the characters, the dominant husband and the submissive wife, as well as by the use of period language, such as the mention of “a slight hysterical tendency”. Through her gradual shift from including details of the normal elements of the narrator’s life, such as her surroundings and the activities of her husband and others, to speaking only of the wallpaper and the woman trapped inside Gilman allows the reader to join the narrator on her journey into...
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...Understanding breast cancer stories via Frank’s narrative types Roanne Thomas-MacLean* Dalhousie University Family, Medicine Teaching Unit, Dr. Everett Chalmers Hospital, P.O. Box 9000, Priestman St. Fredericton, NB Canada E3B 5N5 Abstract While breast cancer narratives have become prevalent in Western culture, few researchers have explored the structure of such narratives, relying instead on some form of thematic analysis based upon content. Although such analyses are valuable, Arthur Frank (The Wounded Storyteller, The University of Chicago Press, Chicago, 1995) provides researchers with an additional means of studying stories of illness, through the examination of their structures. In this article, the author applies Frank’s work to a phenomenological study of embodiment after breast cancer. Frank’s three narrative types are used to enhance understanding of the ways in which stories are culturally constructed, using data collected through one focus group discussion and two in-depth interviews with each of 12 women who had experienced breast cancer. The author then conveys the significance of this form of analysis for future research. r 2003 Elsevier Ltd. All rights reserved. Keywords: Breast cancer; Qualitative and narrative Introduction Frank (1995) writes that those who are ill ‘‘need to become storytellers in order to recover the voices that illness and its treatment often take away’’. (p. xii) Frank’s ideas are supported by the fact that stories of breast cancer...
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