Text Assignment Directions Respond To Each Question In Compl

Text Assignment Directions Respond To Each Question In Complete Se

Respond to each question in complete sentences. The assignment involves analyzing various aspects of narrative and storytelling, including differences between narrative elements, character types, plot structures, and cinematic techniques. Additionally, the task includes discussing irony in storytelling and identifying an example of irony in a specific film.

Paper For Above instruction

The distinction between narration and narrator is fundamental in understanding storytelling. Narration refers to the act or process of telling a story, encompassing the methods used to convey the narrative, such as voiceovers, character dialogue, or visual storytelling. The narrator, on the other hand, is the voice or entity that delivers the narration. The narrator provides perspective, commentary, or insight into the story's events, which can be a character within the story or an external voice (Abbott, 2008).

Regarding narration styles, the difference between omniscient and restricted narration lies in the scope of knowledge offered to the audience. An omniscient narrator possesses complete knowledge about all characters, events, and thoughts within the story, providing a comprehensive viewpoint that can shift between multiple characters’ perspectives (Lodge, 2014). Restricted narration, however, limits the information to a single character’s perspective or knowledge, creating a narrow window into the story and often fostering a sense of mystery or suspense (Chatman, 1990).

The distinction between the camera narrator, first-person narrator, and third-person narrator involves different methods of storytelling. The camera narrator is a cinematic device that uses visual perspective, akin to a camera’s point of view, to present the story—viewing scenes from a specific character’s perspective or an omniscient camera (Bordwell & Thompson, 2010). A first-person narrator is a character within the story who recounts events using pronouns like "I," offering subjective insight and emotional connection. A third-person narrator refers to an external voice describing characters and events using "he," "she," or "they," and can be either omniscient or limited in perspective (Corbett, 2009).

A major character can be flat if they lack complexity, development, or depth—serving primarily as a device for advancing the plot or embodying a single trait (Hogan, 2014). Conversely, a minor character can be round if they display multiple traits, evolve over the story, or possess psychological depth. For instance, a minor character like a mentor who exhibits conflicting motivations or personal growth enriches the narrative, while a flat major character might serve a symbolic purpose without much background detail.

The climax of a story is the point of highest tension and turning point where the protagonist’s pursuit of their goal reaches its peak. It typically involves decisive action or revelation, fundamentally altering the narrative’s direction. The climax directly relates to the protagonist’s goal by either achieving, overcoming obstacles, or yielding failure, thus resolving the central conflict (Morson & Emerson, 2014).

In cinematic storytelling, distinguishing between story and plot is essential. The story encompasses the entire narrative—what actually happens, including all events, characters, and settings. The plot refers to the specific sequence and presentation of these events as arranged by the filmmaker. Essentially, the plot is a subset of the story, organized to produce a particular dramatic and emotional effect (Bordwell & Thompson, 2010).

Diegesis refers to the universe of the story—the totality of elements that exist within the narrative world. Diegetic elements include characters, settings, sounds, and objects that are part of the story world. Non-diegetic elements are those external to the story world, such as background music, narration, or titles, which are added for the audience's benefit and do not originate within the narrative universe (Chion, 1994).

Major events are pivotal to the development of the plot, often serving as key turning points that propel the story forward. Minor events, though less consequential, provide background, depth, and texture to the narrative. Both types of events influence the pacing, tension, and emotional resonance of the film, contributing to narrative complexity (Bordwell & Thompson, 2010).

Regarding the relationship between screen duration and story duration, the three primary relationships are: summary, real-time, and stretch time. Summary involves condensing longer story periods into brief screen moments, allowing rapid progression. Real-time overlap means that the screen duration equals the story duration, presenting events as they occur in real time. Stretch time involves prolonging a short story moment to appear longer on screen, often used for dramatic emphasis (Abbott, 2008).

Suspense and surprise are both techniques used to evoke emotional responses, but they differ significantly. Suspense is a prolonged feeling of anticipation about an imminent event, created by withholding information and building tension (Webster, 1998). Surprise occurs when an unexpected event shocks the audience suddenly. Creating suspense is more challenging for filmmakers because it requires deliberate control of information, pacing, and audience expectations to sustain tension over time (Thompson & Bordwell, 2010).

In the film “Men of Honor,” one character embodying strong contradictions is Master Chief Billy Sunday. His actions display irony through reversal of expected patterns. For example, despite his humble beginnings and initial struggles with authority, he demonstrates relentless determination to become a Navy Master Chief, defying expectations of racial and social limitations (Smith, 2000). Another reversal occurs when he faces discrimination and hardship but ultimately earns the respect of his peers and superiors, contradicting initial assumptions about his capabilities and social status, highlighting irony of character.

References

• Abbott, H. P. (2008). The Cambridge Introduction to Narrative. Cambridge University Press.
• Bordwell, D., & Thompson, K. (2010). Film Art: An Introduction. McGraw-Hill Education.
• Chion, M. (1994). Audio-Vision: Sound on Screen. Columbia University Press.
• Corbett, J. (2009). Instance and Identity in Narrative. Routledge.
• Hogan, P. C. (2014). Reading Irony, Satire, and Parody. JHU Press.
• Lodge, D. (2014). The Art of Fiction. Vintage International.
• Morson, G. S., & Emerson, C. (2014). Reconsidering the Climax: Narrative and the Construction of Meaning. Routledge.
• Smith, R. (2000). Men of Honor: The Story of Carl Brashear. Random House.
• Thompson, K., & Bordwell, D. (2010). Film History: An Introduction. McGraw-Hill Education.
• Webster, D. (1998). Suspense and Its Discontents. Journal of Film and Video, 50(3), 45–53.