Narrative Film Research Articles

Time perception in film viewing: A modulation of scene's duration estimates as a function of film editing

Filmmakers and editors have empirically developed techniques to ensure the spatiotemporal continuity of a film's narration. In terms of time, editing techniques (e.g., elliptical, overlapping, or cut minimization) allow for the manipulation of the perceived duration of events as they unfold on screen. More specifically, a scene can be edited to be time compressed, expanded, or real-time in terms of its perceived duration. Despite the consistent application of these techniques in filmmaking, their perceptual outcomes have not been experimentally validated. Given that viewing a film is experienced as a precise simulation of the physical world, the use of cinematic material to examine aspects of time perception allows for experimentation with high ecological validity, while filmmakers gain more insight on how empirically developed techniques influence viewers' time percept. Here, we investigated how such time manipulation techniques of an action affect a scene's perceived duration. Specifically, we presented videos depicting different actions (e.g., a woman talking on the phone), edited according to the techniques applied for temporal manipulation and asked participants to make verbal estimations of the presented scenes' perceived durations. Analysis of data revealed that the duration of expanded scenes was significantly overestimated as compared to that of compressed and real-time scenes, as was the duration of real-time scenes as compared to that of compressed scenes. Therefore, our results validate the empirical techniques applied for the modulation of a scene's perceived duration. We also found interactions on time estimates of scene type and editing technique as a function of the characteristics and the action of the scene presented. Thus, these findings add to the discussion that the content and characteristics of a scene, along with the editing technique applied, can also modulate perceived duration. Our findings are discussed by considering current timing frameworks, as well as attentional saliency algorithms measuring the visual saliency of the presented stimuli.

The Pleasure of the Violent Touch in Iranian Narrative Cinema

The Pleasure of the Violent Touch in Iranian Narrative Cinema

Analysis of Lighting Arrangement in the Film "Buried" (2010) by Director Rodrigo Cortez

This study examines the use of innovative lighting in Rodrigo Cortez's film "Buried," focusing on its impact on narrative storytelling within a single-location setting. The limited lighting arrangement is key to the film's uniqueness, effectively portraying narrative tension and the protagonist's psychological journey in a creative and technical manner. Using a qualitative approach, the research analyzes each shot to identify key lighting transitions and thematic motifs. It dissects the film's visual strategies, particularly how Cortez manipulates light to convey the protagonist's psychological state and the passage of time in a confined space. The study aims to understand the effects of lighting arrangement on the film's visual mood and its implications for contemporary cinematography, as well as the psychological effects of lighting in film on viewers' perception and emotions. It also seeks to enhance the experience of claustrophobia using lighting as a narrative device to complement the tense atmosphere in the film's scenes. The results contribute to a broader discourse on cinematography's role in shaping film narrative structures, especially in creating deep visual narratives without relying on extensive settings or special effects. This analysis provides insights into the effectiveness of minimalist lighting in low-budget film making with high constraints.

Evolution and Deepening of Antagonistic Characters in Films: A Typological Analysis and Exploration of Empathy Construction

This paper explores antagonistic characters in films, specifically focusing on the concept of “empathetic antagonists.” Through a review of relevant literature, the paper defines empathetic antagonists, examines their evolutionary processes, categorizes them, and elucidates their significance in film narratives and how they evoke empathy in the audience. Firstly, the paper reviews prior studies related to empathetic antagonists and provides a conceptual framework. Secondly, it traces the evolution of antagonist characters from simple, one-dimensional evil personas to complex, multifaceted characters with depth. Thirdly, the paper classifies empathetic antagonists into four main types: Complex Motivation, Moral Struggle, Complicated Relationships, and Diverse Backgrounds. Additionally, it offers suggestions for scriptwriting and actor interpretation in shaping these characters. Finally, by synthesizing these aspects, the paper concludes that antagonistic characters in films have transitioned from initially simplistic and flat representations to complex and three-dimensional depictions, evolving from uni-dimensional evil to profound humanity. This trend not only enhances the artistic quality of films but also prompts audiences to contemplate issues of humanity, morality, and emotions. In the future, filmmakers can continue exploring the multifaceted qualities of antagonist characters to enrich character experiences and create more captivating works. Simultaneously, actors need to accurately convey the emotions and complexities of these characters during performances, leaving a lasting impression on the audience. This research is instrumental in understanding the role and impact of antagonist characters in film narratives and offers guidance for creating in-depth and empathetic antagonist characters.

Remember lest we forget: the link between long-term memory and narrative, empathy and previous knowledge in Israel

ABSTRACT One of the most demanding challenges teachers and educators face is the need to engage their students with ‘difficult knowledge’ topics. The need to unwrap controversial issues that are the subject of cultural or historical debate, without oversimplifying them, making them accessible and their morals apparent, all while committing them to memory, is an ongoing challenge for most pedagogical approaches. How to teach difficult knowledge in the classroom, especially the topic of the Holocaust, is a question that all educators in Israel face during their career. A common teaching tool is the use of film in both first and third-person narrative. Focused on the effect of narrative perspective in the teaching of difficult knowledge, this article examines the effect of first-person and third-person narrative in film on both short- and long-term memory among a cohort of students enrolled at a college of education in Israel. It also seeks to provide news insights into this issue by looking at the connection between empathy, previous knowledge, and perspective taking.

ANALISIS SINEMATIK DAN NARASI VISUAL FILM ANIMASI “RAYA AND THE LAST DRAGON”

Raya and the Last Dragon is an animated film produced by Walt Disney Animation Studios with the storyline of Raya's adventures as the main character in an imaginary country called Kumandra. This animated film has a cultural style and local identity that is identical to Southeast Asian culture, including Indonesian culture. It is these cultural identities and symbols that encourage this research. Through a descriptive analysis method, the meaning of symbols or cultural identities contained in the visual and cinematic narratives of the animated film Raya and the Last Dragon will be explained based on studies using Roland Barthes' semiotic theory. The results obtained from the analysis using two stages of significance, namely the first level of denotational meaning and the second level of connotative meaning, are the messages contained in several excerpts in each scene of the animated film which show the meaning of Southeast Asian cultural symbols, as well as what is visible from the behavior of each character, as well as the visual and cinematic narrative that greatly influences the animated film.

From the Soil to the Screen: Women Representation in Contemporary Rural China

This research delves into the representation of female characters in contemporary Chinese cinema, focusing on films set in rural and underdeveloped areas between 2010 and 2022. Under the guidance of Professor Luis Duno Gottberg at Rice University, the study scrutinizes the complex interplay between traditional socio-cultural norms and evolving gender perceptions within these cinematic narratives. Central to our inquiry is the exploration of how a distinctly Chinese interpretation of the Male Gaze and entrenched Confucian patriarchal values shape the portrayal of women, signaling a negotiation between historical and cultural influences and modern identities. Employing a qualitative research methodology, this study integrates a comprehensive literature review, focusing on feminist film theory and its application within the Chinese context. Content analysis of selected films is conducted to uncover recurring visual and narrative themes, character development, and gender dynamics.

Analysis of Moral Values of Being in The Pursuit of Happyness Movie

This research aimed to analyze the moral values representing the educational values presented in the film "The Pursuit of Happyness." The research design employed qualitative descriptives to examine the movie and its script, focusing on scenes and visuals depicting educational values. By observing the protagonist's utterances and actions, the moral values as explained by Linda and Eyre were analyzed. The results of this research revealed five of the six moral values of being, namely honesty (observed in two scenes), courage (manifested in three scenes), peace (seen in four scenes), independence and potential (highlighted in three scenes), and self-discipline and moderation (illustrated in two scenes). These findings provided a valuable resource for students of English education and suggested "The Pursuit of Happyness" as an interesting option for inclusion in educational curricula. The identified moral values could be integrated into teaching and learning, offering teachers a dynamic tool to foster character development. In conclusion, this research underlined the potential of film as a powerful medium for instilling positive values and character. By embracing the moral values embedded in cinematic narratives, educators could contribute to the holistic development of students, emphasizing the important role of character education in forming responsible and moral individuals.

Humans and Farm Animals in Documentary Film Narratives: A Romantic Perspective on the Problem of Capitalist Meat Production

ABSTRACT The purpose of this study was to examine the role of Romantic notions in understanding contemporary human–animal relations. I examined how three documentaries dealing with the problem of farm-animal exploitation construct the relationship between farmers and meat producers on the one hand and farm animals on the other. Using the method of multimodal critical discourse analysis, I examined audiovisual and linguistic levels of documentaries. I argue that documentary narratives have a dual function in exploring these relationships. First, they produce anthropocentric narratives that focus on the farmer’s perspective and their experience of the relationship with farm animals. The anthropocentric narrative legitimizes the notions of traditional forms of sustainable agriculture in which animals graze freely, and a relationship of trust exists between farm animals and farmers. In this narrative, farm animals are portrayed as anthropomorphized and thus equal to humans. Ideologically, it follows the premodern idea of pastoralism. The second narrative is biocentric in that it focuses primarily on animals. This narrative consists of a critique of the exploitation of farm animals in large, industrialized fattening farms and slaughterhouses. I argue that the origins of both narratives lie in Romantic notions about the relationship between humans and animals. Ultimately, both narratives propagate a Romantic return to preindustrial pastoralism, advocating a harmonious coexistence of land, animals, and people, and rejecting industrial, mechanical, and technological forms of farm animal husbandry. I conclude by asking how Romantic ideas contest late capitalist forms of commodification of animals and what the limits of these ideas are in eliminating the exploitation of farm animals.

Porous privacies: Gender, migration, and precarious homes in early twenty-first century narrative films from the French Mediterranean

A prominent trope in so-called banlieue cinema—French cinema focused on housing projects on the outskirts of large French cities largely inhabited by migrants and their descendants—represents precarious migrant homes, and by extension entire neighborhoods, as dysfunctional and cut off from social life. This essay explores representations of precarious migrant homes that resist such polarising media images, and that insist on a porous privacy as a precondition for narrative and subjective development—for the ability to thrive—while pointing out the often gendered and precarious nature of such porosity. The natural and built specificities of the Mediterranean coast have often provided a productively rich set for such revisions, including for auteurs such as Claire Denis and Abdellatif Kechiche to develop their distinctive styles. Lesser-known filmmakers, such as Bania Medjbar and Hafsia Herzi, emerge in the wake of earlier revisionist films. Less focused on developing distinctive styles, they are invested in character-driven stories, and on stories that feature a range of characters and thus narrative options, while pointing out the gendered complexities of precariously porous homes.

Narrative Innovation in Chinese Mythological Animation within the Context of Traditional Culture

The research aims to provide a comprehensive analysis of the narrative expression of Chinese mythological themes in animated films from the perspective of traditional Chinese culture, integrating insights from film narrative studies and traditional Chinese philosophical texts. The past decade has been a booming period for mythological-themed animation films in China, during which a multitude of outstanding works emerged. Creators have drawn inspiration from traditional Chinese culture, creating uniquely Eastern mythologies. Innovation can be felt in the portrayal of narrative characters, the configuration of temporal and spatial structures, or the use of traditional thinking to tell stories. This has revitalized Chinese animation, instilling it with cultural confidence, and has also poured new energy into traditional Chinese culture.

Types of Visibility: Disruption, Consent & Contemporary Politics

This paper analyses representations of the coming-of-age process in contemporary narrative films that challenge dominant social and political ideologies. Through an intersectional analysis of Tomboy (2011), Girlhood (2014), and Portrait of a Lady on Fire (2019), all of which were directed by Céline Sciamma; Inxeba (2017) by John Trengove, and Moffie (2019) by Oliver Hermanus, I demonstrate how specific scenes and sequences expose and critique gender, race, class, and sexuality norms. Drawing from feminist, queer, and postcolonial theories, I identify three types of visibility across the films: disruption, consent, and contemporary politics. The analysis reveals how the selected films contest dominant cinematic gazes and scopic regimes by giving visibility to diverse identities and experiences. I argue that this study yields generative insight into the complexities of the coming-of-age process on the body as it is represented in contemporary narrative film.

Mounage Structures for Building a Film Narrative

The book "Montage Structures for Building a Film Narrative" by Dr. Bilyana Topalova is an indepth analysis of external montage structures and their transformation under the influence of new technologies. The research was done with reasoning and knowledge of new trends in cinema and film language. The topic is current and offers scientifically based conclusions and analyses. Cinema has become a visual, aural and narrative memory of humanity. Cinematic memory is more important, because of its social or cultural character, because there will always be a viewer who, when watching and listening to films, will have the opportunity and desire to discover something different from the familiar.

The Impact of Non-linear Narrative Structures on Better Character Development in Animated-short Movies

Nonlinear narrative structures are infrequently used in animated short films and their benefits seems to be relatively neglected in comparison with cinema. Yet, the revolutionary potential of utilizing such structures in animated short films is endless. Nonlinear narratives provide techniques and tools which helps in better introduction and development of characters, resulting in in-depth emotional involvement of the audience. Such engagement is viable without the emphasis which classical structure puts on irrevocable principles such as linear timeline. This paper discusses the impact of nonlinear narrative structures in four animated short films, “The coin” (2019), “Negative Space” (2017), “Late afternoon” (2017), “The boy who saw the iceberg” (2000), which demonstrate a restructure of temporal factors. Each of these films is not only taking advantage of an exclusively tailored nonlinear structure using time distortion, they are also enforcing the impact they have on the way characters are delineated which could be inspired by other film-makers in animation. This paper discusses such innovative potentials in narrative structure of animated short films by relying on David Bordwell classical narration theories in “Narration in the fiction film” (1985), which are then diversified into nonchronological structures according to temporal feature of the narration. The present study argues that not only applying various nonlinear storytelling structures is possible in the context of animated short films, it also provides film-makers with measures and capabilities to achieve memorable and engaging characters.

Hyper-femininity as radical resistance: re-envisaging the starlet through a feminist practice of solidarity in It’s Sophie! (2018)

ABSTRACT This article challenges the often-derided role of the young and apparently naive ‘starlet’ figure in film and stage performance. My engagement with the concept of the starlet originates from Laura Mulvey’s influential psychoanalytical feminist essay ‘Visual Pleasure and Narrative Cinema’ (1989 [1975]), which investigates women in classical Hollywood cinema as objects of a misogynistic gaze. My definition of the starlet builds on this work and identifies her as a conventionally yet unattainably glamorous and attractive young woman, who is groomed and policed by patriarchal structures. Mulvey explains how, within the patriarchy of the Hollywood studio system, the ‘determining male gaze projects its phantasy on to the female figure which is styled accordingly’ (1989: 16). This article analyzes how my performance practice seeks new ways of resisting and deconstructing the male gaze to produce innovative alternatives to heteronormative femininity. Specifically, I examine It’s Sophie! (2018), which presents a starlet who explodes the idea of a fixed masculinised archetype. The starlet personae in It’s Sophie! engage in subversive hyper-femininities through endurance-based posing that serves to explore their magnified sexuality and monstrous potential. This article presents wonderous and worrying states of unbridled femininity that directly challenge the masculinised gaze.

Allegories of Aging Masculinity: The Myth of Don Quixote in Albert Serra’s Honor of the Knights

This article develops a discussion of Albert Serra’s Honor of the Knights (2006) and his radical interpretation of Don Quixote on a final journey before death. The analysis explores Serra’s portrayal of the quixotic myth and argues that the film demythologizes the literary figure and unveils underlying meanings that can be read from the perspective of gender and aging. The article argues that rather than divest the myth, Serra’s film recognizes the quixotic mythology and reclaims the elements of the character that cast Don Quixote as the prototype of the sorrowful errant knight. Drawing from discourses on masculinity and aging the reading explores how Serra’s avant-garde esthetics and minimalist dialogues present an intimate and contemporaneous portrayal of the characters. Don Quixote’s journey through the landscapes becomes an allegory for a life journey where aging and decline, and the ordinariness of life, are juxtaposed with the chivalric ideals of the wandering knight. The discussion will focus on aspects of the film narrative where the quixotic myth as archetype speaks to us and voices his concerns about defection and decline, which resonates with present collective anxieties about senectitude and the perils of old age.

Lights, Camera, Activism: Unpacking the Role of Cinematic Narratives in Shaping Modern Protest Movements and Social Change

This research delves into the profound interplay between cinematic narratives and the emergence, evolution, and impact of social dissent and protest movements in contemporary society. Film, as a powerful medium for storytelling and cultural reflection, has consistently played a significant role in both reflecting and shaping societal perspectives. This study explores the multifaceted ways in which movies have influenced the dynamics of activism, dissent, and social change, thus providing critical insights into the realm of contemporary civil society and its efforts to address pressing social issues. The research employs a multidisciplinary approach, drawing from film studies, sociology, and political science, to comprehensively analyse the connections between cinematic narratives and real-world protest movements [1]. It scrutinizes instances where films have served as catalysts for collective action, whether by galvanizing public awareness, articulating marginalized voices, or provoking discussions on critical societal issues. Furthermore, this study investigates the reciprocal relationship between cinema and social dissent, exploring how real-world events, ideologies, and grassroots movements have inspired filmmakers and shaped the content of movies. It also examines the transformative power of film festivals, online platforms, and documentary filmmaking in amplifying dissenting voices and fostering global solidarity.

Displaying the Moral Fiber: Exploring “Front of the Class” Film

This research is twofold in its objectives: first, to scrutinize the moral underpinnings depicted in the film “Front of the Class,” and second, to elucidate the educational ramifications derived from the themes portrayed therein. Employing a descriptive qualitative research methodology, this study delves into the dialogue exchanges among the characters, with particular emphasis on the protagonist. The findings reveal a spectrum of moral fibres in the film, including self-confidence, perseverance, earnestness, autonomy, amiability, patience, optimism, love, and humility. We recommend that educators leverage these insights to develop curriculum components focusing on moral education through cinematic narratives. Further, researchers should consider comparative studies with other films to broaden their understanding of the cinematic impact on moral development. These insights are anticipated to contribute to the broader discourse on moral fibres and extend practical benefits by enriching the educational experience for English students and fostering a deeper engagement with literary texts and cinematic narratives.

The Shifting Terrains of Disability and Gender: Investigating the Delineation of Women with Disabilities in Hindi Films

The paper engages with the portrayal of women with disabilities in Hindi cinema, considering the diverse facets of representational strategies and structures of power. Addressed in the narratives as objects of derision, pity, and care, women with disabilities are drawn to the able-bodied gaze and patriarchal chauvinism. Films such as Black (2005), Barfi (2012), and Margarita with a Straw (2014) are incorporated into the study to foreground the interactions among the ableists and non-ableists orbs. Efforts are underway to reposition the counter-discourse on disability narratives in 21st-century films, addressing the misrepresentation of individuals with disabilities in the hegemonic portrayal. Manifestations of the social model of disability would culminate in exposing the cultural tensions and reductionist ableism reinforced by normativity. To address, assess, and critique disability spectrum in films, the article moves forward to the intersectionality of disability, gender, and social reality to accentuate the lived realities of women with disabilities. By building on critical disability studies along with feminist disability studies as the theoretical base, the endeavour serves to permeate the arcs of representation, identity, and cultural synergy. Hence, the article seeks to unearth the dominant ideologies of normalcy and ableism in Hindi films while quantifying the amount of discrimination, stereotypical dissimulation interpolated and thus, counting insights into actualities in filmic narratives.

Breaking Barrier: Exploring Psycholinguistics Through Cinematic Analysis

Many people in this world suffer from various type of learning disorders. Dyslexia is one such condition with which a lot of people struggle. This abstract presents a psycholinguistic analysis of the films, Taare Zameen Par and Mical exploring the portrayal of language development and its psychological implications. Drawing on psycholinguistic theory, this analysis examines how language acquisition, communication disorders, and the socio-emotional aspects of language are depicted in these cinematic narratives. Psycholinguistics theory is a multidisciplinary field that studies the relationship between language and the mind including how people produce comprehend and acquire language. Dyslexia is a condition that often intersects with the field of psycholinguistics and it examines how this condition affects various aspects of language processing, such as phonological awareness, decoding skills, reading fluency and comprehension. Psycholinguistics theory helps to understand the underlying cognitive processes involved in reading and language difficulties experienced by individuals with dyslexia. The movie Taare Zameen Par and Mical portrays different perspectives on dyslexia highlighting the challenges and strength of individuals with the condition and promoting awareness of understanding. Through the analysis of these movies, this abstract underscore the power of cinema as a medium for exploring the intricacies of language and cognition. By examining the portrayal of language development and communication in Taare Zameen Par and Mical through a psycholinguistic lens, this abstract offers insights into the complex interplay between language, cognition, and culture, enriching our understanding of the human experience.