791 Öffentliche Darbietungen, Film, Rundfunk
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The 1935 Fox Films "Dante's Inferno" (directed by Harry Lachman) traces the rise and fall of an entrepreneur. Its protagonist, Jim Carter (played by Spencer Tracy), begins the story as a stoker on a cruise liner. The narrative opens with a burst of flames from the ship's boiler, and the ensuing scene goes on to show the protagonist competing at shovelling coal for a bet in the sweltering engine-room. Interspersed are shots of the superstructure directly above with a number of elegant and vapid passengers following the game below. This initial sequence thus concisely conveys the main features of the film's social agenda through imagery that anticipates that of two of its later 'infernal' sequences. [...] Spectacular admonition and concern about the ruthless pursuit of wealth are the main features which link this "Inferno" of the thirties to the one that had appeared some six hundred years earlier. Wealth and avarice were, of course, demonstrably serious concerns for Dante: as Peter Armour, for example, has shown, there is a recurrent and pervasive concern with money, its meaning, and its misuse throughout the "Commedia". So it is not surprising that the "Inferno" should also have been appropriated by social critics some hundred years before the 1935 Hollywood fable. [...] Some of the narrative and visual patterns in "Dante's Inferno" imply an uneasy underlying vision of the movie industry and its practices. Other productions, publicity, and journalism of the time reinforce suggestions of such a metafictional approach to movies, morality, and the market in the 1935 "Dante's Inferno".
This contribution consists of an explanatory introduction and extracts from recent fiction works, 'White Tales' (novel) and 'Peep Show' (novel in progress). Both fiction works explore the spiralling tensions between intensity and excess, desire and jouissance, via the structure and methodology pioneered in the author's previous work with 'subconscious narrative' film. The result of this prior work was the 18-minute subconscious narrative film 'The Dangers', which explores an experimental narrative structure and is fascinated by the creation and sustenance of suspense, particularly when created with the notion of the uncanny in mind.
Nolan brings a fairly recognizable style to all his movies, often described as "dark" or "gritty." The tone is relentlessly serious, and the narratives are infused with the ambiguity and pessimism of film noir. His protagonists are, without exception, tortured, obsessed men, struggling with the loss of loved ones or past mistakes. Not only do these men face an uncaring world with murky morality, their sense of self is also unstable. To go along with the faulty memories and self-deceptions of his characters, Nolan also has a knack for misleading his audience with convoluted narratives. As Fisher puts it, he specializes in puzzles that can't be solved. 'Inception', to my mind, makes an excellent showcase for all these themes. Therefore, through an examination of its use of space and architecture as metaphors for the mind, I aim to determine the concept of the malleable self that underlies all of Nolan's movies.
This study analyzes storyline structure in three Hausa home videos; Mai Kudi (The Rich Man), Sanafahna (with time truth shall dawn) and Albashi (Salary). The study measures storyline structure in these films against a Hollywood film industry model of story writing “the Hero's Journey”. It uses narrative analysis as its analytical tool, and narrative theory as its framework. After analyzing these videos, the study found that the major elements of storyline structure in Vogler's model formed the framework of the storyline structure in Hausa home videos analyzed. However, in spite of the preponderance of these elements within the storyline structure, there are significant variations to Vogler's model. Specifically, Vogler's model has some twelve stages spread on the universal structure of storytelling, i.e. beginning, middle and end. Few of these stages were found to exist in Hausa narrative structure, perhaps due to cultural differences between Western, Indian and Hausa cultures. The study therefore recommends screenwriters and producers to be aware of the existence of standard models of scriptwriting. It also recommends more training for script writers in the Hausa film industry.
At the beginning of every story of murder there is always a body. If the murderer is a serial killer, there is, of course, more than one. More importantly, the bodies left by the serial killer are not likely to be intact and whole. What he leaves behind and what we, the audience, will get to see is the body in pieces, dismembered, scattered. A series of snapshots, partial views, and close-ups, inflicting cold sharp shocks, is all we may glimpse: the head of Benjamin Raspail floating in a jar of formaldehyde in The Silence of the Lambs, a finger removed by the serial killer from his landlord’s hand in Kalifornia, a ziploc bag of fingers recovered from a flooded drainpipe in When The Bough Breaks, a surgically severed hand used to leave misleading fingerprints on a wall at a crime scene in Seven.