Terms Used by Narratology and
Film Theory
THE
FOLLOWING TERMS
are presented in alphabetical order; however, someone beginning to learn
narratology needs to stay conscious of the fact that the same terms
sometimes refer to the same or analogous things (eg. story and fabula
or flashback and analepsis). I have tried to indicate terms that are
related, as well as those terms that are used differently by two different
narratologists. For an introduction to the work of a few narratologists
currently influencing the discipline, see the Narratology
Modules in this site. Whenever a defined term is used elsewhere
in the Guide to Theory, a hyperlink will eventually (if it does not
already) allow you to review the term in the bottom frame of your browser
window. The menu on the left allows you to check out the available terms
without having to scroll through the list below. Note that the left-hand
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Analepsis
and Prolepsis: |
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What is commonly referred to in film as "flashback"
and "flashforward." In other words, these are ways in
which a narrative's discourse
re-order's a given story:
by "flashing back" to an earlier point in the story (analepsis)
or "flashing forward" to a moment later in the chronological
sequence of events (prolepsis). The classic example of prolepsis
is prophecy, as when Oedipus is told that he will sleep with his
mother and kill his father. As we learn later in Sophocles' play,
he does both despite his efforts to evade his fate. A good example
of both analepsis and prolepsis is the first scene of La Jetée.
As we learn a few minutes later, what we are seeing in that scene
is a flashback to the past, since the present of the film's diegesis
is a time directly following World War III. However, as we learn
at the very end of the film, that scene also doubles as a prolepsis,
since the dying man the boy is seeing is, in fact, himself. In other
words, he is proleptically seeing his own death. We thus have an
analepsis and prolepsis in the very same scene. |
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Bridging
Shot : |
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In film, a shot that attempts to "bridge" or smooth
out a jump cut, thus
giving the impression of continuity even though the jump
cut has created a spatial or temporal break of some sort. |
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Crane
Shot : |
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In film, a shot in which the entire camera is moving in one direction
(often while on a crane, hence the term). Also sometimes called
a boom shot. |
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Diegesis: |
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A narrative's time-space continuum, to borrow a term from Star
Trek. The diegesis of a narrative is its entire created world. Any
narrative includes a diegesis, whether you are reading science fiction,
fantasy, mimetic realism, or psychological realism. However, each
kind of story will render that time-space continuum in different
ways. The suspension of disbelief that we all perform before entering
into a fictional world entails an acceptance of a story's diegesis.
The Star Trek franchise is fascinating for narratology because it
has managed to create such a fully realized and complex diegetic
universe that the narratives of all five t.v. shows (TNG, DS9, STV,
Enterprise,, the original Star Trek) and all the movies occur, indeed
coexist, within the same diegetic time-space. |
Discourse
and Story: |
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"Story" refers to the actual chronology of events in
a narrative; discourse refers to the manipulation of that story
in the presentation of the narrative. These
terms refer, then, to the basic structure of all narrative form.
Story refers, in most cases, only to what has to be reconstructed
from a narrative; the chronological sequence of events as they actually
occurred in the time-space (or diegetic)
universe of the narrative being read. The closest a film narrative
ever comes to pure story is in what is termed "real
time." In literature, it's even harder to present material
in real time. One example occurs at the end of the Odyssey
(Book XXIII, pages 467-68); Odysseus here presents the story of
his adventures to Penelope in almost pure "story" form, that is,
in the chronological order of occurence. Stories are rarely recounted
in this fashion, however. So, for example, in the Odyssey,
we do not begin at the chronological start of the story but in
medias res, when Odysseus is about to be freed from the isle
of Calypso (which actually occurs nearly at the end of the chrnologlical
story which Odysseus relates to Penelope on p. 467). Discourse also
refers to all the material an author adds to a story: similes, metaphors,
verse or prose, etc.. In film, such manipulations are extended to
include framing, cutting, camera movement, camera angles, music,
etc.. |
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Establishing
Shot : |
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In film, a camera shot that establishes a scene, often as a long
shot. This is a common maneuver at the beginning of Hollywood
films, especially if the setting plays a significant role (eg. Sleepless
in Seattle). |
Eye-Line
Shot : |
|
In film, a sequence of two shots. In the first, you are shown
a character looking; in the second you are presented with what he
or she sees, as if you were looking out of that character's eyes
(in other words, an objective
treatment of a character followed by a POV
shot focalized
through that character). |
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Fabula
and Sjuzhet: |
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Fabula refers to the chronological sequence of events in a narrative;
sjuzhet is the re-presentation of those events (through narration,
metaphor, camera angles, the re-ordering of the temporal sequence,
and so on). The distinction is equivalent to that between story
and discourse, and
was used by the Russian Formalists, an influential group of structuralists.
For a web page dedicated to the distinction between fabula and sjuzet,
click
here. |
First-Person
Narration: |
|
The telling of a story in the grammatical first person, i.e. from
the perspective of an "I," for example Moby Dick,
including its famous opening: "Call me Ishmael."
This form of narration is more difficult to achieve in film; however,
voice-over narration can create the same structure. Orson Welles
achieves similar effects in Citizen Kane through, for example,
the judicious use of POV
and over-the-shoulder
shots. Such narrators can be active characters in the story
being told or mere observers. First-person narration tends to underline
the act of transmission and often includes an embedded listener
or reader, who serves as the audience for the tale. First-person
narration focalizes
the narrative through the perspective of a single character. The
question of motivation or psychology is therefore often raised:
why is this narrator telling us this story in this way and can we
trust him? For this reason, unreliable
narrators are not uncommon. |
Focalize
(focalizer, focalized object): |
|
The presentation of a scene through the subjective perception
of a character. The term can refer to the person doing the focalizing
(the focalizer) or to the object that is being perceived (the focalized
object). In literature, one can achieve this effect through first-person
narration, free indirect discourse, or what Mikhail Bakhtin
refers to as dialogism (see Module on Bakhtin). In film, the effect
can be achieved through various camera tricks and editing, for example
POV shots, subjective
treatment, over-the-shoulder
shots, and so on. Focalization is a discursive
element added to a narrative's story. |
Frame
Narrative: |
|
A story within a story, within sometimes yet another story, as
in, for exmple, Mary Shelley's Frankenstein. As in Mary Shelley's
work, the form echoes in structure the thematic search in the story
for something deep, dark, and secret at the heart of the narrative.
The form thus also resembles the psychoanalytic process of uncovering
the unconscious behind various levels of repressive, obfuscating
narratives put in place by the conscious mind. As is often the case
(and Shelley's work is no exception), a different individual often
narrates the events of a story in each frame. This structure of
course also leads us to question the reasons behind each of the
narrations since, unlike an omnicient
narrative perspective, the teller of the story becomes an actual
character with concomitant shortcomings, limitations, prejudices,
and motives. The process of transmission is also highlighted since
we often have a sequence of embedded readers or audiences, A famous
example in film of such a structure is Orson Welles' Citizen
Kane. See also the definition for narration. |
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Gaze: |
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In feminist film criticism, this term usually refers to the predominantly
male gaze of Hollywood cinema, which tends to objectify women.
Feminist critics examine carefully the ways that camera angles and
film editing tends to focalize
women as objects perceived by voyeuristic men. See
also scopophilia. The term is influenced by both Freudian
and Lacanian psychoanalysis. |
Gaze
Shot: |
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In film, a shot of a character gazing at something; such a shot
is often followed by a POV
shot, in which case it is termed an eye-line
shot. |
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Hermeneutic
and Proairetic Codes: |
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The two ways of creating suspense in narrative, the first caused
by unanswered questions, the second by the anticipation of an action's
resolution. These terms come from the narratologist Roland Barthes,
who wishes to distinguish between the two forces that drive narrative
and, thus by implication, our own desires to keep reading or viewing
a story. The hermeneutic code refers to those plot elements that
raise questions on the part of the reader of a text or the viewer
of a film. For example, in the Star Trek: TNG episode, "Cause
and Effect," we see the Enterprise destroyed in the first five
minutes, which leads us to ask the reason for such a traumatic event.
(See the Lesson
Plan on Star Trek for the clip and a class discussion of the
scene.) Indeed, we are not satisfied by a narrative unless all such
"loose ends" are tied. Another good example is the genre of the
detective story. The entire narrative of such a story operates primarily
by the hermeneutic code. We witness a murder and the rest of the
narrative is devoted to determining the questions that are raised
by the initial scene of violence. The proairetic code, on the other
hand, refers to mere actionsthose plot events that simply
lead to yet other actions. For example, a gunslinger draws his gun
on an adversary and we wonder what the resolution of this action
will be. We wait to see if he kills his opponent or is wounded himself.
Suspense is thus created by action rather than by a reader's or
a viewer's wish to have mysteries explained. |
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in
medias res: |
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Technical term for the epic convention of beginning "in the middle
of things," rather than at the very start of the story. In the Odyssey,
for example, we first learn about Odysseus' journey when he is held
captive on Calypso's island, even though, as we find out in Books
IX through XII, the greater part of Odysseus' journey actually precedes
that moment in the narrative. Of course, films and written tales
often begin in the thick of things and fill in the background later;
in other words, narrative regularly reworks discursively
the simple chronology of its story.
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Jump
Cut: |
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In film, an editing cut that creates a break in time or space
in what would otherwise be a continuous sequence.
The same action may, for example, "jump" forward in time
or suddenly change scene. |
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Lap
Dissolve: |
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Technical term for when in film one scene fades into the next.
A good example is the sequence of lap dissolves in La Jetée
that ends with the protagonist's love object opening her eyes. |
Lateral
Wipe: |
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A highly stylized edit whereby one scene replaces the former
scene by appearing to wipe it away from right to left or left to
right. The technique is hardly ever used anymore but was a common
cinematic technique of the forties and fifties. |
Long
Shot: |
|
In film, a view of a scene that is shot from a considerable distance,
so that people appear as indistinct shapes. An extreme long shot
is a view from an even greater distance, in which people appear
as small dots in the landscape if at all (eg. a shot of New York's
skyline). |
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Match
Cut: |
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Technical term for when a director cuts from one scene to a totally
different one, but has objects in the two scenes "matched," so that
they occupy the same place in the shot's frame. The director thus
makes a discursive
alignment between objects that may not have any connection on the
level of story. Match
cuts offer directors with one way to create visual metaphors in
film since the match cut can suggest a relation between two disparate
objects |
Metadiegetic
and Extradiegetic: |
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Gérard Genette distinguishes among diegetic
narratives (the primary story
told); metadiegetic narratives (stories told by a character inside
a diegetic narrative); and extradiegetic narratives (stories that
frame the primary story).note |
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Narration: |
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Narration refers to the way that a story
is told, and so belongs to the level of discourse
(although in first-person
narration it may be that the narrator also plays a role in
the development of the story
itself). The different kinds of narration are categorized by each
one's primary grammatical stance: either 1) the narrator speaks
from within the story and, so, uses "I" to refer to
him- or herself (see
first-person narration); in other words, the narrator is a
character of some sort in the story itself, even if he is only
a passive observer; or 2) the narrator speaks from outside the
story and never employs the "I" (see
third-person narration). See also third-person
omniscient narration; third-person-limited
narration; and objective
treatment.
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Objective
Treatment: |
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An objective treatment of a scene is the most common use of the camera in film and television; we are simply
presented with what is before the camera in the diegesis
of the narrative. We are not seeing the scene through the perspective
of any specific character, as we do in POV
shots or in a subjective
treatment of events. "objective treatment" corresponds to "third-person
narration" in literature.
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Over-the-Shoulder
Shot: |
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In film, a shot that gives us a character's point of view
but that includes part of that character's shoulder or the side
of the head in the shot. There are numerous examples in Orson
Welles' Citizen Kane, especially of the focalizing
gaze of the nameless
reporter; indeed, we are often given over-the-shoulder shots that
include his glasses, thus self-reflexively underlining the fact
of the focalization
(eg. bi-focals).
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POV
or Point-of-View Shot: |
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A sequence that is shot as if the viewer were looking through
the eyes of a specific character. The shot is a common trick of
the horror film: that is, we are placed in the position of the
killer who is slowly sneaking up on a victim. (Note that horror
directors sometimes "cheat" with this device; that is, after a
building of suspense, it can also turn out that we were not in
the position of the killer after all.)
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Real
Time: |
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In film, when a sequence is presented exactly as it occurs,
without any edits or jumps in time. The recent television series,
24, attempted to present the viewer with real time for each of
its 24 episodes, with the action in each episode lasting exactly
one hour. The exact time of the story action is therefore equal
to the time it takes to view that action. The show made up for
tediousness by jumping between actions occurring at the same time.
In general, film or video rarely attempts to present you with
real time since the most interesting aspects of a narrative tend
to reside in the discursive
re-organization of the chronological story.
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Scopophilia: |
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Literally, the love of looking. The term refers to the predominantly
male gaze of Holloywood cinema, which enjoys objectfying women
into mere objects to be looked at (rather than subjects with their
own voice and subjectivity). The term, as used in feminist film
criticism, is heavily influenced by both Freudian
and Lacanian
psychoanalysis. |
Shock
Cut: |
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A cut in a movie that juxtaposes two radically different scenes
in order to shock the viewer. A famous example is the opening
sequence in Stanley Kubrick's 2001 in which a prehistoric man
throws a bone into the air, which then shock cuts (and match
cuts) to an oblong star-ship in space. |
Subjective
Treatment: |
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Whereas in a POV
shot we are looking through the eyes of a character in the
present and seeing something that is happening in the diegesis
of the narrative, in a series of shots presented as a subjective treatment of events we see through the "mind's
eye" of the character. We might be seeing a vision, a memory,
or a hallucination. A good example are
the many instances of the subjective treatment of events in the X-Files episode, "Jose Chung's From Outer Space," whereby we are presented with the false and manipulated memories of various characters. In earlier films and tv shows, such sequences often began with wavy lines, a distorted opening sequence, or a halo effect. In the SNL skit (and later movie), "Wayne's World," Wayne (played by Mike Myers) alludes to such stylistic devices by waving his hands in front of the camera before a dream or wish-fulfillment sequence. |
Suture: |
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The techniques used by film to make us forget the camera
that is really doing the looking. Laura Mulvey argues that there
are, in fact, three looks implied by film: 1) the look of the
camera itself; 2) the look of the audience watching the film;
and 3) the look of the characters on screen (Mulvey
25). In traditional Hollywood cinema, we are invited (through
various tricks of editing, camera angles, etc.) to identify with
the look of the male characters so that we will forget the mechanical
look of the camera and our own invested look at the screen. As
Kaja Silverman explains, "This sleight-of-hand involves attributing
to a character within the fiction qualities which in fact belong
to the machinery of enunciation: the ability to generate narrative,
the omnipotence and coercive gaze, the castrating authority of
the law" (232).
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Third-Person
Limited Narration or Limited Omniscience: |
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Focussing a third-person narration through the eyes of a single
character. Even when an author chooses to tell a narrative through
omniscient narration,
s/he will sometimes (or even for the entire tale) limit the perspective
of the narrative to that of a single character, choosing for example
only to narrate the inner thoughts of that one character. The narrative
is still told in third-person
(unlike first-person
narration); however, it is clear that it is, nonetheless, being
told through the eyes of a single character. A famous example of
this form of narration is James Joyce's "The Dead" (in
Dubliners). A narrative can also shift among various third-person-limited
narrations. (See also focalize.) |
Third-Person
Narration: |
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Any story told in the grammatical third person, i.e. without using
"I" or "we": "he did that, they did something
else." In other words, the voice of the telling appears to
be akin to that of the author him- or herself. This is perhaps the
most common sort of narration and was particularly popular with
the nineteenth-century realist novel. See also third-person
omniscient narration; third-person-limited
narration; and objective
treatment. |
Third-Person
Omniscient Narration: |
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This is a common form of third-person narration in which the teller
of the tale, who often appears to speak with the voice of the author
himself, assumes an omniscient (all-knowing) perspective on the
story being told: diving into private thoughts, narrating secret
or hidden events, jumping between spaces and times. Of course, the
omniscient narrator does not therefore tell the reader or
viewer everything, at least not until the moment of greatest
effect. In other words, the hermeneutic
code is still very much in play throughout such narrations.
Such a narrator will also discursively
re-order the chronological events of the story. |
Tracking
Shot: |
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In such a film shot, the camera is literally running on a track
and thus smoothly following the action being represented or perhaps
thus giving the viewer a survey of a particular setting. |
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Unreliable
Narrator: |
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A narrator that is not trustworthy, whose rendition of events
must be taken with a grain of salt. We tend to see such narrators
especially in first-person
narration, since that form of narration
tends to underline the motives behind the transmission of a given
story. There are numerous famous examples in literature (James'
"Turn of a Screw" is a superb example) and a few notable
examples in film (Citizen Kane perhaps most famously among
them). |
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Voice-Over
Narration: |
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In voice-over narration, one hears a voice (sometimes that of
the main character) narrating the events that are being presented
to you. A classic example is Deckard's narration
in the Hollywood version of Ridley Scott's Bladerunner. This
technique is one of the ways for film to represent "first-person
narration," which is generally much easier to represent in fiction. |
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Wipe: |
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A smoothly continuous replacement of one shot by another shot,
as if the new shot were "wiping away" the old one.
The wipe usually proceeds from left to right or vice-versa, but
can also proceed from top to bottom or vice-versa. |
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Zoom: |
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When a stationary camera moves in or away from an object by shortening
its focal length. The same effect can be achieved by pushing in
or pulling back the camera, in which case it is no longer properly
a "zoom" shot. |
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