Narrative comprehension and film / Edward Branigan.

Series : Sightlines<br>Edited by Edward Bscombe, Phil Rosen<br><br>List of figures ix <br>Preface xi <br><br>1 NARRATIVE SCHEMA 1 <br>Psychological use value 1 <br>Logical transformations in narrative 4 <br>Pragmatic forms in narrative 8 <br>Cognitive schemas and other ways of associating data 13 <br>A proposal for a narrative schema 17 <br>The Girl and Her Trust 20 <br>Causality and schema 26 <br><br>2 STORY WORLD AND SCREEN 33 <br>A preliminary delineation of narrative in film 33 <br>Top-down perception 37 <br>Temporal and spatial order 39 <br>Causality and metaphor 44 <br>Impossible story space 50 <br>Screen space and stylistic metaphors 56 <br><br>3 NARRATION 63 <br>Knowing how 63 <br>Disparities of knowledge 66 <br>Hierarchies of knowledge 72 <br>Nick Fury as an example 76 <br>Forgetting and revising 83 <br><br>4 LEVELS OF NARRATION 86 <br>Eight levels 86 <br>An implied author and a chameleon text 92 <br>Vocalization 100 <br>Communication 107 <br>Text under a description 111 <br>A comprehensive description of narrative 114 <br>Five types of narrative theory 118 <br><br>5 SUBJECTIVITY 125 <br>Levels in Hangover Square 125 <br>Separation of material and structure 140 <br>What makes film subjective? A case study of Lady in the Lake 142 <br>A synthesis: telling/showing/summary/scene 146 <br>Subjectivity in narrative theories 150 <br>How many cameras are in a film? 157 <br><br>6 OBJECTIVITY AND UNCERTAINTY 161 <br>From subjectivity to intersubjectivity 161 <br>The historical present of invisible observation 164 <br>Simultaneous time schemes 168 <br>Flashback 173 <br>Multiplicity in Letter from an Unknown Woman 177 <br><br>7 FICTION 192 <br>Fiction as partially determined reference 192 <br>Psychologically real theories of fiction 196 <br>Fictional pictures 198 <br>Nonfictional pictures 202 <br>Post-modernism and documentary in Sans Soleil 207 <br>A brief conclusion 216 <br><br>Notes 218 <br>Works cited 288 <br>Index 307 <br> <br>FIGURES<br>1 Narrative schema 17 <br>2 The Girl and Her Trust 22<br>3 Story time 41<br>4 Dr Mabuse, the Gambler (shot 4) 54<br>5 Dr Mabuse, the Gambler (shot 5) 54<br>6 Dr Mabuse, the Gambler (shot 6) 55<br>7 Dr Mabuse, the Gambler (shot 9) 55<br>8 The 39 Steps (shot 1) 57 <br>9 The 39 Steps (shot 2) 57<br>10 Graphic match 59 <br>11 Spatial match 59 <br>12 Open match 59<br>13 Integrated match 59<br>14 Disparities of knowledge 68 <br>15 Nick Fury (panels 14) 78<br>16 Nick Fury (panels 5-8) 78 <br>17 Nick Fury (panels 9-12) 79<br>18 Nick Fury (panels 13-16) 79 <br>19 Eight levels of narration 87<br>20 An implicit circle 90 <br>21 The Wrong Man (shot 1) 92<br>22 The Wrong Man (shot 2A) 92<br>23 The Wrong Man (shot 2B) 93 <br>24 The Wrong Man (shot 3) 93<br>25 The three types of agency 106 <br>26 Simple and complex configurations of narration 114<br>27-30 Hangover Square 126-7 <br>31 Hangover Square (shot 1A) 128<br>32 Hangover Square (shot IB) 128 <br>33 Hangover Square (shot 1C) 129<br>34 Hangover Square (shot ID) 129 <br>35 Hangover Square (shot IE) 130<br>36 Hangover Square (shot IF) 130 <br>37 Hangoi>er Square (shot 1G) 131 <br>38 Hangover Square (shot 2A) 131 <br>39 Hangover Square (shot 2B) 132 <br>40 Hangover Square (shot 2C) 132 <br>41 Hangover Square (shot 2D) 133 <br>42 Hangover Square (shot 3) 133 <br>43 Hangover Square (shot 4) 134 <br>44 Hangover Square (shot 5A) 134 <br>45 Hangover Square (shot 5B) 135 <br>46 Hangover Square (shot 6) 135 <br>47-8 Gfeen to? 175 <br>49 Letter from an Unknown Woman (shot 1) 183 <br>50 Letter from an Unknown Woman (shot 2) 183 <br>51 Letter from an Unknown Woman (set-up 1*) 185 <br>52 Letter from an Unknown Woman (shot 1) 188 <br>53 Letter from an Unknown Woman (shot 2) 188

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