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Branigan, Edward: Narrative Comprehension and Film. London, New York: Routledge, 1992. (325 S.) 
Resource type: Book
Languages: englisch
ID no. (ISBN etc.): 0-415-07511-4
BibTeX citation key: Branigan1992
View all bibliographic details
Categories: General
Keywords: "Nick Fury", Film, Narratologie, Superheld, USA
Creators: Branigan
Publisher: Routledge (London, New York)
Abstract
Narrative is one of the ways we organise and understand 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 an Unknown Woman, post-modernism and documentary in Sans Soleil.

Table of Contents

List of figures (ix)
Preface (xi)

1 NARRATIVE SCHEMA (1)
Psychological use value (1)
Logical transformations in narrative (4)
Pragmatic forms in narrative (8)
Cognitive schemas and other ways of associating data (13)
A proposal for a narrative schema (17)
The Girl and Her Trust (20)
Causality and schema (26)

2 STORY WORLD AND SCREEN (33)
A preliminary delineation of narrative in film (33)
Top-down perception (37)
Temporal and spatial order (39)
Causality and metaphor (44)
Impossible story space (50)
Screen space and stylistic metaphors (56)

3 NARRATION (63)
Knowing how (63)
Disparities of knowledge (66)
Hierarchies of knowledge (72)
Nick Fury as an example (76)
Forgetting and revising (83)

4 LEVELS OF NARRATION (86)
Eight levels (86)
An implied author and a chameleon text (92)
Focalization (100)
Communication (107)
Text under a description (111)
A comprehensive description of narrative (114)
Five types of narrative theory (118)

5 SUBJECTIVITY (125)
Levels in Hangover Square (125)
Separation of material and structure (140)
What makes film subjective? A case study of Lady in the Lake (142)
A synthesis: telling/showing/summary/scene (146)
Subjectivity in narrative theories (150)
How many cameras are in a film? (157)

6 OBJECTIVITY AND UNCERTAINTY (161)
From subjectivity to intersubjectivity (161)
The historical present of invisible observation (164)
Simultaneous time schemes (168)
Flashback (173)
Multiplicity in Letter from an Unknown Woman (177)

7 FICTION (192)
Fiction as partially determined reference (192)
Psychologically real theories of fiction (196)
Fictional pictures (198)
Nonfictional pictures (202)
Post-modernism and documentary in Sans Soleil (207)
A brief conclusion (216)

Notes (218)
Works cited (288)
Index (307)
  
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