COP2 - Academic Text Analysis

Narration within a Fiction Film by David Bordwell

Although this book is not primarily aimed at the Animation discipline, it incorporates the main structure and theories of narrative that can be applied to animated works. From the Russian Formalism conception of Fabula and Syuzhet, the basic structure of a narrative piece, to the Gestalt theory referring to how the perception of text/imagery can change the narrative to something completely different. Bordwell's studies are written in depth and easy to depict to be able to compare to previous theories that have been mentioned; being able to piece a distinct connection between theories before Bordwell describes them.

Analysing Chapter 5 - Sin, Murder and Narration

In this chapter we can immediately read a distinct connection to the basics of narration in which the Fabula and Syuzhet are applied within detective films. Here we can see how the actions of the syuzhet are applied to the crime part of Fabula; the syuzhet being the beginning of the crime becoming structured by the detectives progress throughout the narrative, with the Fabula being explained gradually and withholding information from the audience to create suspense. In a previous chapter we learn about Meir Sternberg, one of the many theorists within the book, whom created the Suspense Hypothesis; information that is unknown is linked to the known in the past narrative, and the possibility of future narrative. This develops a sense of anticipation and curiosity to the viewer through the connection between these events. This can interestingly refer to another theory described in a previous chapter, a form of Gestalt theory. The audience create expectations of the film through their own experiences, as they already know the genre before they watch the film; From this expectation, the viewer knows that anyone can be the murderer.

One of the main examples used within this chapter, The Big Sleep, is used to describe the use of the fabula and syuzhet. Interestingly the film bases the fabula around the construction of the investigation rather than the construction of the crime. This take on the chronological events only allows the audience to depict the events through the detectives eyes, learning information when the detective does. This works well with restricting information from the audience to create tension and curiosity with past events.  The audience need to know the information/clues that the detective finds as he investigates, however with this set fabula the use of restricting information becomes harder to apply to the structure of the syuzhet. Somehow the communication of information needs to be retained from the viewer. This could be shown by not allowing the viewer to see the detectives own deductions and only allowing the viewer to perceive the clues that reveal themselves throughout the fabula. Bordwell refers to Dorothy Sayers, a famous crime writer in which her solution involves variations of depth in representing the detective. For instance, only allowing the viewer to know the detectives conclusions when they voice them,

Bordwell then further depicts the connection between detective films and retardation narrative, holding back information to make the viewer unsure about what they are watching and curious as to what will happen next. This theory aids the communication of the information stated in the previous paragraph, it aides the presentation to the audience and how the fabula will eventually reveal the information, becoming gradually known. An example given is seen in the film, Murder My Sweet,  in which the main character is shot in the face and all information becomes halted to the viewer, the viewer perceives what he perceives. This interesting take on narrative and perspective for the audience leaves the atmosphere engulfed with suspense as no information is being relayed back to the viewer, begging the question, did he survive? Fortunately the audience discover that he did as the visuals fade back and the narrative continues.

Even though I have only gone in depth with one of the chapters within this book, I have learnt so much from Bordwells studies within narration. I have discovered theories that have helped me to not only write my essay but to inform my own practice, to consider the amount of information that is relayed to the viewer and how I can take advantage of this to create a narrative that grips the viewer.