notes
what novels can do that films can't (and vice versa)
117
在这里赫然发现Chatman's narrative比小说大得多
narrative itself is a deep structure quite independent of its medium(这里指小说戏剧音乐电影等样式). In other words, narrative is basically a kind of text organization, and that organization, that schema, needs to be actualized.
Modern narratology combines two powerful intellectual trends: the Angelo-American inheritance of Henry James, Percy Lubbock, E.M.Forster, and Wayne Booth; and the mingling of Russian formalist (Viktor Shklovsky, Boris Eichenbaum, Roman Jakobson, and Vladimir Propp) with French structualist approaches (Claud Levi-Strauss, Roland Barthes, Gerard Genette, and Tzvetan Todorov)
118
A salient property of narrative is double time structuring. 有两条时间线：story-time and discourse-time，它们是独立的。比如你说：早上我睁眼，起床，穿衣，洗漱。这是story-time，而在叙述时可以搅乱顺序，flashback就是常见的手法
119
Chatman的关注焦点是decription and point of view
关于description
Narratologists argue that a more correct and comprehensive account of description rest on temporal structure....what happen in description is that the time line of the story is interrupted and frozen. Events are stopped, though our reading- or discourse-time continues, and we look at the characters and the setting elements as at a tableau vivant.
而在电影里
the details are not asserted as such by a narrator but simply presented, so we tend, in a pragmatic way, to contemplate only those that seem salient to the plot as it unrolls in our mind.巴特管这个叫a hermeneutic inquiry
124
asserting与naming的区分
对电影来说The dominant mode is presentational, not assertive. A film doesn't say, "This is the state of affairs," it merely shows you that state of affairs. Of course, there could be a character or a voice-over commentator asserting a property or relation; but then the film would be using its sound track in much the same way as fiction uses assertive syntax.
in its essential visual mode, film does not describe at all but merely presents; or better, it depicts, in the original etymological sense of that word: renders in pictorial form.
Seeing is, after all, believing.
128
关于point of view
But in verbal fiction, the narrator may or may not give us a visual bearing. He may let us peer over a character's shoulder, or he may represent something from a generalized perspective, commenting indifferently on teh front, sides, and back of the object, disregarding how it is possible to see all these parts in the same glance. He doesn't have to account for his physical position at all.
当然电影的视角完全是狭隘的
p.s.叙事学很有趣；Chatman的电影镜头分析很棒
117
在这里赫然发现Chatman's narrative比小说大得多
narrative itself is a deep structure quite independent of its medium(这里指小说戏剧音乐电影等样式). In other words, narrative is basically a kind of text organization, and that organization, that schema, needs to be actualized.
Modern narratology combines two powerful intellectual trends: the Angelo-American inheritance of Henry James, Percy Lubbock, E.M.Forster, and Wayne Booth; and the mingling of Russian formalist (Viktor Shklovsky, Boris Eichenbaum, Roman Jakobson, and Vladimir Propp) with French structualist approaches (Claud Levi-Strauss, Roland Barthes, Gerard Genette, and Tzvetan Todorov)
118
A salient property of narrative is double time structuring. 有两条时间线：story-time and discourse-time，它们是独立的。比如你说：早上我睁眼，起床，穿衣，洗漱。这是story-time，而在叙述时可以搅乱顺序，flashback就是常见的手法
119
Chatman的关注焦点是decription and point of view
关于description
Narratologists argue that a more correct and comprehensive account of description rest on temporal structure....what happen in description is that the time line of the story is interrupted and frozen. Events are stopped, though our reading- or discourse-time continues, and we look at the characters and the setting elements as at a tableau vivant.
而在电影里
the details are not asserted as such by a narrator but simply presented, so we tend, in a pragmatic way, to contemplate only those that seem salient to the plot as it unrolls in our mind.巴特管这个叫a hermeneutic inquiry
124
asserting与naming的区分
对电影来说The dominant mode is presentational, not assertive. A film doesn't say, "This is the state of affairs," it merely shows you that state of affairs. Of course, there could be a character or a voice-over commentator asserting a property or relation; but then the film would be using its sound track in much the same way as fiction uses assertive syntax.
in its essential visual mode, film does not describe at all but merely presents; or better, it depicts, in the original etymological sense of that word: renders in pictorial form.
Seeing is, after all, believing.
128
关于point of view
But in verbal fiction, the narrator may or may not give us a visual bearing. He may let us peer over a character's shoulder, or he may represent something from a generalized perspective, commenting indifferently on teh front, sides, and back of the object, disregarding how it is possible to see all these parts in the same glance. He doesn't have to account for his physical position at all.
当然电影的视角完全是狭隘的
p.s.叙事学很有趣；Chatman的电影镜头分析很棒
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