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Narration in the Fiction Film, by David Bordwell
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Most films tell tales, but what does that involve? How do motion pictures tease us into building what we all agree to call stories? In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives. The result is a pioneering, far-reaching work which will change the way we perceive narrative film—and which every serious film scholar, student or fan will welcome.
“This book is of crucial importance to film specialists. I cannot think that any film teacher/scholar would miss reading this work.”—Don Fredricksen, Cornell University
“David Bordwell’s Narration in the Fiction Film is a major contribution to film studies and to narrative theory. The work, I predict, will be widely read, praised, debated, and damned. Brodwell’s originality lies not so much in demonstrating the deficiencies of other theories, which he does very convincingly, but in the scope and design of his project, against which there is no competition of comparable intellectual weight.”—Jerry Carlson, DePaul University
- Sales Rank: #142058 in Books
- Published on: 1985-09-15
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x .80" w x 9.50" l, 1.89 pounds
- Binding: Paperback
- 370 pages
Amazon.com Review
What is cinematic storytelling? How can we understand its technique and complexities? What are its extents and limitations? In this monumental work, David Bordwell catalogues every aspect of film narrative, offering insight into an amazing variety of fiction films. The author, who is as comfortable talking about Al Jolson movies as he is describing the career of Jean-Luc Godard, has made a major contribution to film studies and the field of narrative theory.
Review
0;This book is of crucial importance to film specialists. I cannot think that any film teacher/scholar would miss reading this work.1;2;Don Fredricksen, Cornell University
0;This is a well-illustrated, well-documented book, up to date in a time of rapidly changing theories. It also opens up important new questions to explore. ... Highly recommended for graduate students and upper-division undergraduates.1;2;"Choice"
0;A comprehensive account of how movies use fundamental principles of narrative representation, unique features of the medium, and particular story-telling patterns to move and delight us. 0; Should inspire all serious film theorists.1; 2;"Communications Booknotes"
"This book is of crucial importance to film specialists. I cannot think that any film teacher/scholar would miss reading this work."--Don Fredricksen, Cornell University
"This is a well-illustrated, well-documented book, up to date in a time of rapidly changing theories. It also opens up important new questions to explore. ... Highly recommended for graduate students and upper-division undergraduates."--"Choice"
"A comprehensive account of how movies use fundamental principles of narrative representation, unique features of the medium, and particular story-telling patterns to move and delight us. ... Should inspire all serious film theorists." --"Communications Booknotes"
From the Back Cover
In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives. The result is a pioneering, far-reaching work which will change the way we perceive narrative film--and which every serious film scholar, student or fan will welcome.
Most helpful customer reviews
16 of 18 people found the following review helpful.
Delicious Film Theory
By A Customer
As most films, like most novels, have some sort of narration flowing through them, David Bordwell's "Narration in Fiction Film" is a very useful and important book in the world of film theory. Laying out the different styles of narration into a few distinct categories and using a few films as examples by analyzing them in great depth (including Rear Window and Pickpocket), Bordwell takes a very deliberate and methodical approach to the delineation and understanding of films. The language he uses, such as the terms "syuzhet" and "fabula" to refer to different aspects of the plot, are difficult to comprehend at first but once learned provide a welcome ticket into the captivating world of film.
11 of 13 people found the following review helpful.
teaches new ways of thinking about cinema
By Augustas B.
I used this book for a cinema/media theory seminar as a freshman at Princeton University. It is demanding and just plain difficult at times (I personally found chapter 2 super confusing). However, it achieves its goal: it provides one valuable way to discuss movies - by focusing on the narrative and its workings (another way that comes to mind is Lacanian psychoanalysis employed by Slavoj Zizek). Along the way Bordwell gives us some very useful vocabulary: syuzhet , fabula, diegesis (the narrative space), self-consciousness and communicativeness, internal and external norms, etc. Have you ever asked yourself what difference it makes whether the music you hear in a particular scene of a movie is diegetic (e.g. comes from a radio situated in the narrative space) or non-diegetic (i.e. is super-imposed)? Or how the narrative makes use of your expectations and hypothesis-building? If so, you will probably enjoy this book.
The book also develops a valuable discussion of different "modes" of narration. Everyone knows the "classical" Hollywood narration (protagonist-driven plot, a problem that needs resolution, etc.). Bordwell uses the classical mode as the starting point to discuss the other ones. For example, Art Cinema narration depends precisely on violating the norms of classical narration. Moreover, Bordwell makes it easier to understand different modes by including long interpretations of various movies (Bertolucci's "The Spider's Stratagem", Bresson's "Pickpocket", Hitchcock's "The Rear Window", Godard's "Pierrot le fou" and many others).
It would be very hard to absorb all of this book. Personally, I forgot most of the nuances and arguments discussed and precise terms used to frame them. However, the take-away is a whole new way of thinking and talking about film.
0 of 0 people found the following review helpful.
a reference tool and inspiration for any serious filmmaker or critic
By hungrylens
very dense, very insightful, when i'm not sure how to make a scene flow i crack open this book at random. seven years in i still glean new ideas from Bordwell's analysis of old films.
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