Narrative Most histories (Histoires), most histories of the cinema (histoires du cinéma) and most of the films that form part of that history and that tell stories (histoires) are narratives. They narrate events that have already occurred. The events so narrated are usually presented chronologically, a series of sequences, scenes, shots that progress in a more or less linear fashion, that begin and are concluded and resolved. One of the features of such narratives is that their elements belong to a hierarchy of importance and significance. Some passages are
, 2015 : 399–400), laying shaky ground for how the lives of refugees and internally displaced populations (IDPs) are depicted in gender analysis. Through gender analysis, narratives about refugees and IDPs become institutionalised. Gender analysis narratives in this paper appear primarily in ‘grey’ literature originating from humanitarian actors, including research reports, assessments, baselines, evaluations and technical guidance. In this paper, ‘dominant’ narratives are the
It has been widely asserted that nationhood is inseparable from narration. This vague claim may be clarified by understanding that nationalism is bound up with the universal prototypical narrative structures of heroic, romantic, and sacrificial tragi-comedy. This essay considers an historically important case of the emplotment of nationalism - the sacrificial organization of German nationalism between the two world wars. It examines one exemplary instance of this emplotment, F. W. Murnau‘s Nosferatu, a Symphony of Horror (1922). However unintentionally, Nosferatu represents the vampire in a way that is cognitively continuous with Nazi representations of Jews. The films sacrificial emplotment of vampirism is, in turn, continuous with Nazi policies. That continuity places the film in a larger discourse that helped to make Nazi policies possible.
4813 The ARC - PT/gk.qxd 1111 21 3 4 51 6 7 8 9 10 1 1112 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 4211 19/4/07 10:59 Page 5 1 Narrative machines Preface: ‘like life itself’ The narratives of the world are numberless . . . Able to be carried by articulated language, spoken or written, fixed or moving images, gestures and the ordered mixture of all these substances; narrative is present in myth, legend, fable, tale, novella, epic, history, tragedy . . . comics, news items, conversation . . . [U]nder this almost infinite diversity of
This chapter investigates the English-language primary narrative texts published by each of these three websites (Stories 4, 5 and 6), 5 comparing narrative elements and construction with both the corresponding Russian primary narrative texts and with each other, and highlighting the differences between the Russian texts and their English versions. While the structure of the chapter loosely follows that of the previous three
a prison, even though entirely surrounded by walls, is a splendidly illuminated theatre of history. (Milan Kundera, The Book of Laughter and Forgetting ) Narratives of imprisonment have become a defining genre of African writing in the second half of the twentieth
alternative to neoclassical historical narrative. Like all secret histories, scandal chronicles explored the relations between two opposed views of the past: one that bolstered the authority of a governing elite, and one that allocated power to a subordinate minority. But where texts written as dialogues often sharpened the distinctions between authoritative and oppositional viewpoints
The release of L’Enfant secret in 1982 marked a turning point in Garrel’s cinema by inaugurating what the film-maker describes as his narrative period. Several allusions establish a direct correlation between the couple at the centre of the film and Garrel and his former partner Nico. The other two feature films of this period, Liberté, la nuit ( 1983 ) and Elle a passé tant d’heures sous les sunlights ( 1984 ) 1 as well as the short film Rue Fontaine ( 1984 ), equally draw on aspects of Garrel’s biography. Capturing the tendency towards self
This interdisciplinary volume explores the role of images and representation in different borderscapes. It provides fresh insight into the ways in which borders, borderscapes and migration are imagined and narrated by offering new ways to approach the political aesthetics of the border. The case studies in the volume contribute to the methodological renewal of border studies and present ways of discussing cultural representations of borders and related processes. The case studies address the role of borders in narrative and images in literary texts, political and popular imagery, surveillance data, video art and survivor testimonies in a highly comparative range of geographical contexts ranging from northern Europe, via Mediterranean and Mexican–US borderlands to Chinese borderlands. The disciplinary approaches include critical theory, literary studies, social anthropology, media studies and political geography. The volume argues that borderlands and border-crossings (such as those by migrants) are present in public discourse and more private, everyday experience. This volume addresses their mediation through various stories, photographs, films and other forms. It suggests that narratives and images are part of the borderscapes in which border-crossings and bordering processes take place, contributing to the negotiation of borders in the public sphere. As the case studies show, narratives and images enable identifying various top-down and bottom-up discourses to be heard and make visible different minority groups and constituencies.
This chapter, the theoretical foundation of the book, begins by offering a working definition of narrative from a sociological perspective, including the key concepts of ontological narrativity (the idea that narratives constitute rather than merely represent reality) and relationality (the idea that narratives are constructed by making meaningful connections). Four different types of narratives