Style and Narrative Analysis

Dr. Greg Smith

The job of narrative and stylistic criticism is to slow this process down so that we may better understand how it works in particular media examples. The first part of the course gives the students a new language for describing narrative construction, introducing them to different theorists and their typologies of classification. After this introduction (and an initial experience in applying these terms to media texts), the course explores several non-classical narrative paradigms. What is the function of spectacle in narrative? How do soap opera, melodramas, multiple protagonist narratives, nested narratives, etc., rearrange the codes of classical narrative construction? We will pay attention to the different strengths and weaknesses of these narrative forms, noting how narrative structure influences the kinds of stories that can be told.

Required Texts

David Bordwell, Narration in the Fiction Film

On the day that each reading is due, you must hand in a 50-75 word abstract of each chapter/article and a list of at least (but not limited to) two questions about each chapter/article (things you don't understand, criticisms of the reading, questions inspired by the reading). When one of the primary books (Bordwell, Chion, Barthes) or a portion of those books is assigned, you do not have to hand in an abstract; you should hand in a list of questions about the reading. Abstracts/questions for individual readings are due on the day that the reading is due and may not be handed in late.

The participation grade is based on your in-class performance in oral discussions; on the quality of thinking in your written abstracts/questions. If you miss more than one class in the semester or if you do not regularly hand in written abstracts/questions or if you come to class unprepared, your participation grade will suffer greatly. Makeup presentations are allowed in extraordinary circumstances only (for example, illness or family crisis).

Class Policies

It is expected that the student will: attend all classes having read the required material for the day; give his/her full attention to the in-class learning activities; and participate in class sessions with civility and respect for others. Plagiarism/cheating in any form will not be tolerated and will result in failure for the entire course (see the Policy for Academic Honesty, Section 409, GSU Faculty Handbook: http://www.gsu.edu/~wwwfhb/fhb.html). The course syllabus provides a general plan for the course; deviations may be necessary. Please turn off cell phones, pagers, etc. at the beginning of class.

If either the short or the long paper is handed in late, your grade will decrease by 10% for every business day (Monday-Friday) the paper is late. For example, if the paper is due Thursday and you hand it in the following Tuesday, then the paper gets a 30% late penalty (Friday, Monday, Tuesday).

Grade Breakdown:

A 90-100

Course Schedule

January 15	Introduction
22	Basic Narrational Principles: Classicism David Bordwell, Narration in the Fiction Film (ch. 1-9) Seymour Chatman, "Events," from Story and Discourse
29	CLASS CANCELED
February 5	Structuralism and Narrative Segmentation Roland Barthes, S/Z Bruno Bettelheim, "Cinderella," from The Uses of Enchantment Noel Carroll, "The Power of Movies," Daedalus 114.4 (Fall 1985) Noel Carroll, "The Paradox of Suspense," from Vorderer, Wulff, and Friedrichsen, Suspense
12	Basic Narrational Principles: The Art Cinema Alternative The Problem of Style David Bordwell, Narration in the Fiction Film (ch. 10-12) Robert Stam, "Introduction," "The Genre of Self-Consciousness," "The Process of Production," from Reflexivity in Film and Literature Jay Ruby, "The Image Mirrored," from Rosenthal, New Challenges for Documentary David Bordwell, On the History of Film Style (p. 149-157, 210-237)
February 19	Character Perspectives Murray Smith, "Engaging Characters," "The Threshold of Legibility," "Screens and Filters," "Soot and Whitewash," from Engaging Characters: Fiction, Emotion, and the Cinema Berys Gaut, "Identification and Emotion in Narrative Film," from Plantinga and Smith, Passionate Views Edward Branigan, "Subjectivity," "The Point of View Shot," from Point of View in the Cinema
26	Serial Narrative Roger Hagedorn, "A History of Seriality," from Allen, To Be Continued Robert C. Allen, "A Reader Oriented Poetics of the Soap Opera," from Speaking of Soap Opera
March 4	CLASS CANCELED – SCMS Conference
SPRING BREAK
18	Multiform, Parallel, and Nested Narratives Janet Murray, "Harbingers of the Holodeck," from Hamlet on the Holodeck Charles F. Altman, "Interpreting Romanesque Narrative: Conques and the Roland," Olifant 5.1 (Oct. 1977) Rick Altman, "The American Film Musical as Dual-Focus Narrative" and "The Structure of the American Film Musical," from The American Film Musical Husain Haddawy, Arabian Nights (selections) Greg M. Smith, "Passersby and Politics: City of Hope and the Multiple Protagonist Film" Various webcomics
25	Melodrama Ben Singer, "Meanings of Melodrama," "Sensationalism and the World of Urban Modernity," "Ten Twenty Thirty Melodrama," from Melodrama and Modernity Ben Brewster and Lea Jacobs, "Pictures," "Situations," from Theatre to Cinema Rick Altman, "Dickens, Griffith, and Film Theory Today," from Gaines, Classical Hollywood Narrative
April 1	Excess and Spectacle Kristin Thompson, "The Concept of Cinematic Excess," from Rosen, Narrative/Apparatus/Ideology Tom Gunning, "The Cinema of Attractions," from Elsaesser, Early Cinema: Space, Frame, Narrative Donald Crafton, "Pie and Chase," from Karnick and Jenkins Classical Hollywood Comedy
8	Sound Michel Chion, Audio-Vision

April 15	Closure Richard Neupert, "The Open Story Film," "The Open Text Film," from The End Paper presentations
22	Paper presentations
29	Paper presentations
May 6, 5:00 p.m.	Paper presentations