当前课程知识点：英语电影与文化 > Unit 12 The English Patient: Critical Analysis > Unit 12 The English Patient: Critical Analysis > Unit 4 Film Narrative II
Understanding film narrative: The trailer. Suggested viewing: The Wolf of Wall Street.
Advanced: Three Dimensions of Film Narrative: Narration, plot structure, and story worlds. Suggested viewings: The Godfather, Jezebel.
Advanced: Stories beget stories. Suggested viewing: American Hustle.
Introduction to classical plot structure. Suggested viewing: Many possibilities listed.
Historical background: Is there a 3-act structure?
Action films: Did spectacle kill classical plotting? Suggested viewing: Mission: Impossible 3.
Advanced: Block construction. Suggested viewing: Kill Bill, Pulp Fiction.
How many protagonists? Suggested viewing: The Big Short.
The importance of coincidence. Suggested viewing: Serendipity.
Narrative parallels among characters and periods. Suggested viewing: Julie and Julia, Enchantment.
Advanced: Fine-grained parallels between scenes. Suggested viewing: The Prestige.
Time shifts: How flashbacks work. Suggested viewing: The Power and the Glory.
Advanced: Time shifts without flashbacks. Suggested viewing: Exodus.
Advanced: Nested flashbacks. Suggested viewing: Passage to Marseille, The Locket.
Historical background: Flashbacks and plot problems. Suggested viewing: The Great Moment, All about Eve.
Replays. Suggested viewing: Mildred Pierce.
Advanced: The auditory replay. Suggested viewing: Sudden Fear.
Network narratives. Suggested viewing: Grand Hotel.
Forking-path plotting. Suggested viewing: Source Code.
Advanced: Film Futures. Suggested viewing: Sliding Doors.
Historical background: What-if narratives. Suggested viewing: Dangerous Corner
Beginnings and endings: Molly Wanted More. Suggested viewing: Snow White and the Seven Dwarfs, The Silence of the Lambs.
Visual storytelling. Suggested viewing: Mission: Impossible.
The hook between scenes. Suggested viewing: Dr. Mabuse, The Gambler; National Treasure.
Narration: omniscient versus restricted. Suggested viewing: Cloverfield.
Historical background: Hitchcock, suspense, and surprise.
Alignment and allegiance. Suggested viewing: House by the River.
Character subjectivity, optical and mental. Suggested viewing: The Silence of the Lambs.
Historical background: Subjectivity and sound. Suggested viewing: Nightmare Alley, The Fallen Sparrow.
Voice-over narration. Suggested viewing: All about Eve.
Advanced: Dead narrators. Suggested viewing: Laura, Confidence.
Historical background: Inner monologue. Suggested viewing: Strange Interlude.
These are exercises in film criticism that utilize several of the tools laid out above.
Boyhood and Harry Potter: The actors’ lives as part of the narrative.
Eastern Promises: Thematic echoes in an auteur’s narratives.
Gone Girl: Suspense and thriller conventions in fiction and film.
Gravity: Narrative innovation within mainstream cinema.
Inception: Goals and parallel construction; managing multiple plotlines.
Moonrise Kingdom: How to make a modern fairy tale (with some help from merchandising); furnishing alternative worlds.
Premium Rush: How goals and deadlines create tight construction.
Side Effects and Safe Haven: Fragmentary flashbacks and patterns of suspense.
Slumdog Millionaire: Adapting a novel to classical norms.
The Bourne Ultimatum: Plotting across franchise installments.
The Girl with the Dragon Tattoo and The Ghost Writer: Classical structure in genre fiction.
The Hobbit: Adaptation and length; adaptation and change.
The Magnificent Ambersons: How to manipulate time without flashbacks.
The Prestige: Using sound to enrich flashback construction.
The Walk: Each act a different genre.
Tinker Tailor Soldier Spy: Elliptical narration: The viewer’s responsibility.
-1.1 Overview
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-1.2 Mise-en-scène: setting
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-1.3 Mise-en-scène: lighting
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-1.4 Mise-en-scène: character appearance
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-1.5 Mise-en-scène: performance
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-1.6 Screen space and composition
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-1.7 Case study
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-Unit1 Questions for discussion
-Unit 1 单元测试
-2.1 Introduction of cinematography
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-2.2 Cinematography: angle of framing
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-2.3 Cinematography: camera distance
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-2.4 Cinematography: mobile framing
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-2.5 Case study
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-Unit 2 Questions for discussion
-Unit 2 单元测试
-3.1 Overview
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-3.2 Openings, closings, and story development
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-3.3 Range of story information: restricted or unrestricted
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-Unit 3 Questions for discussion
-Unit 3 单元测试
-4.1 Overview
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-4.2 Editing and speed of narrative
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-4.3 Chronology and continuity editing
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-4.4 Flashbacks and editing
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-Unit 4 Questions for Discussion
-Unit 4 单元测试
-5.1 Overview
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-5.2 What is semiotics?
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-5.3 Christian Metz
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-5.4 Roland Barthes （Part 1）
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-5.5 Roland Barthes （Part 2）
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-5.6 Case study: 2001: A Space Odyssey
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-Unit 5 Questions for Discussion
-Unit 5 单元测试
-6.1 Overview
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-6.2 Origins of film ideology
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-6.3 Media and technology
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-6.4 Cultural hegemony and counterhegemony
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-6.5 Case study: Star Trek
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-Unit 6 Questions for discussion
-Unit 6 单元测试
-7.1 Overview
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-7.2 Woman and film
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-7.3 Feminist film theory and practice
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-7.4 Case study: Three Billboards Outside Ebbing, Missouri
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-7.5 Masculinity
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-7.6 Queer Cinema
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-Unit 7 Questions for discussion
-Unit 7 单元测试
-8.1 Overview
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-8.2 Race and racism
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-8.3 Stereotypes of racial representation
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-8.4 Whiteness
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-8.5 Case study: Rabbit-Proof Fence
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-Unit 8 Questions for discussion
-Unit 8 单元测试
-9.1 Overview
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-9.2 Edward Said and Orientalism
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-9.3 Cultural Imperialism
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-9.4 Self-orientation
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-9.5 Case study I: Mulan
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-9.6 Case study II: M Butterfly
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-Unit 9 Questions for discussion
-Unit 9 单元测试
-10.1 Overview
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-10.2 Early Background
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-10.3 Jacques Lacan
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-10.4 Laura Mulvey
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-10.5 Case Study: Shutter Island
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-Unit 10 Questions for discussion
-Unit 10 单元测试
-Unit 10 Film and Psychoanalysis
-11.1 Overview
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-11.2 Story
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-11.3 Character: the enigmatic English patient
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-11.4 Mise-en-scène: setting
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-11.5 Narrative
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-11.6 Music
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-Unit 11 Questions for discussion
-Unit 11 单元测试
-Unit 11 The English Patient: Form and Narrative
-12.1 Signs and Symbols
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-12.2 Nationalism in The English Patient
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-12.3 Almasy as the misogynist and Katharine as a feminist
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-12.4 Kip as the Other
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-Unit 12 Questions for discussion
-Unit 12 单元测试
