Introduction

When we watch a film we are caught up in the story that it is telling

and accept everything that happens on the screen as natural. In
fact, everything that we see has been carefully chosen and
arranged, on the screen and within the story, to have a specific
effect on the audience watching the film. The camera is moved and
people and objects positioned in the frame. What people wear is
carefully chosen and the settings selected and prepared.

After seeing a film we might tell a friend what it was about. We

would tell the ‘story’ of the film. But the film is much more than
just its story. The filmmaker has constructed the events to tell the
story and told that story in a particular way. Each person who sees
the film will interpret it in a different way depending on what they
bring to the film in terms of their interests, tastes and experiences,
both first hand and through other films they’ve seen or books
they’ve read.

So a narrative is a story told in a particular way. The same story

could be told in different ways by different filmmakers: the way the
story is told may depend upon the audience for which it is
intended. After all, the film industry needs audiences to pay to
watch films. The narrative must meet the needs of that audience
which may or may not derive pleasure from it.

Narrative Expectations

Because of our experiences of films seen at the cinema or on

television we have certain expectations about film narratives. We
expect to want to know what happens next. We expect a climax
that excites, terrifies or makes us laugh. We expect a resolution in
which things are sorted out in some way.

Pre-publicity gives us clues about the kind of films we are hoping to

see: the film poster gives us clues and creates a narrative image;
the trailer adds more information particularly about the characters,
settings and situation. If we read reviews we might be given a
summary of the story and a personal judgement about the value of
the film. The filmmaker further shapes our expectations with the
titles and opening sequence. At the beginning of the story we start
to anticipate the ending and in the course of the film various
endings suggest themselves. The ending, which the filmmaker
chooses, may confirm our expectations, surprise or disappoint us.

task 1: Film Poster and Trailer

a) Study a film poster (available in newspapers, outside cinemas,

on advertising hoardings). Note what you learn about the story
from the different elements in the poster:
- the still image;
- the graphic style: e.g. size and style of the lettering of the title;
layout;
- the copy (writing) including any quotations from reviews;
- stars featured.

b) Try to see the trailer of the same film. What does the trailer add
to the poster?
Note what you learn about the story from:
- the situation;
- setting;
- characters;
- costumes;
- objects;
- editing;
- music.

Narrative Structure

Theorists have proposed various patterns to explain how narratives

work. The characters, settings and events may be different in each
story, but the narratives follow similar patterns.

Within the pattern of the story, time may be managed in various

ways; events may be presented chronologically; there may be
flashbacks or parallel story lines; parts of the story may be
emphasised – more film time may be given to some events or
characters than to others. In constructing the plot, however, the
filmmaker must bear in mind what an audience can take in, given
the normal length of a film (one and a half to two and a quarter
hours) and the fact that the audience can’t ask for sections to be
re-run if they get confused.

The following chart shows how the story of Little Red Riding Hood
fits in to a narrative pattern.

However, this pattern does not show how time is managed. Film
time is not the same as real time. The filmmaker could choose to
tell the story chronologically, using flashback, or with a parallel
story line which eventually converges. More film time could be
spent on the grandmother’s life or on the wolf lurking in the woods.

The two flow charts that follow show the use of flashback and a
parallel story line.

task 3

a) In pairs, choose a film you have seen recently ad use the

narrative structure chart to see how the narrative works by fitting
the story of the film onto the chart.

b) Construct a flow diagram to show how time is manages in the

film.

c) Join another pair and discuss how the structure and time hold
the attention of the audience. Think about how the conflict
develops, how tension is built up; how the filmmaker has made
parts of the story interesting; how matters are finally resolved.

Viewpoint

An audience may feel like neutral observers watching a series of

events unfold before their eyes, or they may identify strongly with
a particular character. The position of the audience will depend on
whose eyes the filmmaker has chosen to tell the story through. The
filmmaker can position the audience in relation to the characters on
screen: the audience may be positioned as an onlooker as if in the
centre stalls of a theatre watching events on stage; or the camera
can bring the audience into the narrative space so that they see
things from a particular perspective.

The Little Red Riding Hood story could be told through the eyes of
Red Riding Hood, the eyes of the grandmother, or even through the
eyes of the wolf. The filmmaker might choose to present a
detached viewpoint or the viewpoint of several characters.

task 3
Devise two storyboards of the same sequence of a film version of
Little Red Riding Hood from two different viewpoints. Think about
the way the characters and the objects are placed within the frame
and the position of the camera.

Narrative Style

Two filmmakers could take the same story and make two films
which would look and feel very different depending on camera
work, editing, lighting and colour, use of sound.

task 4
Use the style chart to make detailed notes comparing the style of
two films. They might be two films in the same genre by different
directors; two films in the same genre made at different times, e.g.
a 1940’s and 1990’s Western. Note the filmic techniques used to
tell the story and the effects achieved by the techniques used

Narrative Pleasure

There may be a number of reasons why people enjoy particular

films. The enjoyment may be dependent on how the film is made,
who is in it, who made it, its subject matter and ideas, and what
the viewer brings to the film. Above all, enjoyment lies in predicting
what will happen next, what will happen in the end. There is
pleasure too in following the route the story takes to reach its end.

The next chart is intended to help you establish why certain film
narratives give people pleasure. Use it to find out why you liked or
disliked a particular film; to find out what makes a box office
success or failure; to establish why some people like a particular
film and others hate it, and so on. Use the points at the bottom of
each box as triggers for discussion.
Narrative and the Film Industry

Your work on narrative so far will have given you some

understanding of why some stories attract audiences. The people
who finance films want a good return on their money. They will not
put up money for films which are unlikely to bring in audiences. A
filmmaker has to persuade a producer to raise money from
financiers to make a film. The financiers then have to be persuaded
to part with their money.

Different kinds of stories make money at different times. Westerns

may appeal at a particular time, horror at another. Adaptations of
books may work well; famous films may be re-made for a new
generation; a sequel to a popular film may or may not be a sure-
fire winner at the box-office; an original idea catches the
imagination; a real event is turned into a popular film. Some films
are unexpectedly successful; others, which were expected to be
winners, fail. Successful directors may be able to raise money for a
controversial film because of their pull at the box-office.

task 6

a) In pairs, as filmmaker and producer, choose a film you know

well. Outline the arguments you would make to persuade financiers
to put up money for the film. Use your understanding of narrative
and any of the charts in this booklet to help you present a detailed
and convincing analysis of why the narrative you are proposing will
appeal to audiences and make money.

b) Without revealing the real name of the film, present your ideas
to the rest of the class who are in role as financiers. They listen to
the idea, ask any follow-up questions and then discuss whether
they will back the film.

Conclusion

There are many factors then which shape a particular narrative:

financial constraints; current ideas; what is considered acceptable;
the intended audience for the film and the choices the filmmaker
makes in shaping the narrative. Films may share a narrative
pattern, but each film will be different depending on its genre, the
way it is made and the message the filmmaker wants to
communicate. The values embodied in any film will be shaped by
the sets of ideas around at the time it was made. These ideas will
also shape the perceptions of the people who see the film. And
every individual who sees the film will interpret it in a different way
and have a different opinion about it depending on their personal
experiences.