Narration in Film

It is commonly proposed that since the mid-2000s, the slasher subgenre has been dominated by unoriginal remakes of "classics". Consequently, most original slasher films have been ignored by academics (and critics), leaving the field with a limited understanding of this highly popular subgenre. This book corrects that mischaracterisation by analysing contemporary slasher films that sincerely attempt to innovate within the subgenre. I argue that these films reflect broader cultural turns towards sincerity, optimism in the face of crisis, and an emphasis (...) on felt experience that are indicative of a metamodern sensibility. This is the first book to use metamodernism to analyse film in a sustained way, and the first academic work to use metamodernism to examine horror. The Metamodern Slasher offers readers new ways to understand the slasher film, the horror genre, and also the cultural moment we find ourselves in. (shrink)

Thinking About Stories is a fun and thought-provoking introduction to philosophical questions about narrative fiction in its many forms, from highbrow literature to pulp fiction to the latest shows on Netflix. Written by philosophers Samuel Lebens and Tatjana von Solodkoff, it engages with fundamental questions about fiction, like: What is it? What does it give us? Does a story need a narrator? And why do sad stories make us cry if we know they aren’t real? The format of the book (...) emulates a lively, verbal exchange: each chapter has only one author while the other appears spontaneously in pop-up boxes in the text along the way, raising questions and voicing criticisms, and inviting responses from their co-author. This unique format allows readers to feel like they are a part of the conversation about the philosophical foundations of some of the fictions in their own lives. (shrink)

The TikTok experience refers to a user’s interaction with the platform while scrolling through various videos. The user can change what they are viewing instantly on one screen much like a TV viewer, the only difference being that whatever is being watched is in the form of short videos made specifically for the platform. These videos vary in style and form and are made to be viewed within the platform itself. All the content that a user watches within the mobile (...) application, in the end, forms a longer, theoretically never-ending, video that is sometimes completely unrelated but more often similar through shared jokes, memes, and visual filters. This way of producing and viewing short-form videos as a whole is reminiscent of the way Everything Everywhere All At Once feels to the audience which is no surprise as many other forms of media and artworks are inspired by internet short-form video platforms such as TikTok. (shrink)

A typical device in film is to have a character narrating what is going on, but this narration is not always a reliable guide to the events. According to Maier, distortions may be caused by the narrator’s intent, naivety, use of drugs, and/or cognitive disorder/illness. What is common to these various causes, he argues, is the presence of a point of view, which appears in a movie as shots. While this perspective-based account of unreliability covers most cases, I unpack its (...) methodological consequences and gesture at a possibility that Maier’s analysis overlooks. A narration, I suggest, can be unreliable simply because it is ill-timed with the events shown on screen. In such a case, the distortion is not due to any character’s point of view; rather, it comes from the film medium’s ability to divorce what is seen and what is heard. As a consequence of this mismatch, it is possible to have a reliable narrator but an unreliable narration. Since voice and context of utterance usually match in ordinary speech, I conclude that philosophy of language may be ill-suited to properly understand this particular phenomenon. (shrink)

When we think of diegesis and diegetic in film studies, we know what the words refer to within the confines of the traditional scholarly definition of film in the 20th and 21st centuries. This understanding comes from a certain ontological common sense that narratologically film has a dual nature that consists of mimesis and diegesis. Thinking about narration through images and sound, as opposed to the live-acted or read drama or epos in the times of Plato and Aristotle, has given (...) birth to a synthetic view of the poet’s voice and the characters. In fiction films, mimesis and diegesis are so symbiotic that it is often difficult to distinguish between them. However, is it possible to think of films that are non-mimetic? In other words: is it possible for a film to be completely diegetic in the sense of Plato’s understanding of the word diegesis? Plato was against mimetic arts because they were so far removed from the eidos of what they were that there was no explicable use in presenting them. On the other hand, he very much approved or at least perhaps tolerated and recognized the importance of non-mimetic art forms such as music with specific modes of harmony or poetry that only contained the poet’s words where no characters were represented. With this view in mind, two steps will be taken in this paper: the first is questioning the possibility of a purely diegetic film, and the second is the significance of inquiring about such a work. (shrink)

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as J. L. (...) Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of ambiguous story-telling that we (...) find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

Films frequently employ nicknames not only for villains but also for non-criminal characters. In this paper, I present a classification of nicknames used in films, along with various examples, mostly from crime-related films. I argue that the use of nicknames in films is important not for the sake of reference, but for the sake of an additional narrative told by the nickname as a shorthand description of a character's background (cf. Tony “Two-Toes”, “Dirty” Harry, “Doc” Erwin or “Hatchet” Harry Lonsdale). (...) The first role of nicknames is their use as a case of Russell's definite descriptions, which require context to be meaningful, in this case, the film story itself. Such descriptions do not need their object to necessarily exist, but they are still meaningful. This role will be tied to the pragmatic context employed. The second role of film nicknames is to concisely present the audience with a background story, by enriching the identity of a character with additional background information, without unnecessary storytelling. Such a device is connected to the philosophical theory of narrativism, providing an additional layer of the character’s identity. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social (...) issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

This paper focuses on the debate over two central claims regarding cinematic narration: the claim that there are implicit cinematic narrators and the thesis that when we watch movies, we imagine seeing the events and characters in the film fiction. I examine what a consideration of the indeterminate nature of fictional narration, that is, what is specified by the fiction about how we come to imagine the story events, can contribute to the debate on these issues. It is argued that (...) consideration of fictional indeterminacy can be used to show that positing an implicit cinematic narrator is not only unnecessary, but is also incompatible with appreciating the film fiction. While the opposite result is reached regarding the claim about imagined seeing: considerations of indeterminacy suggest that we can suppose, without absurdities, that audiences at the movies sometimes engage in imagined seeing. (shrink)

An interdisciplinary work in philosophy and film studies, Joseph Kupfer investigates narrative theory through the analysis of five films that have narrative as their subject matter and where stories and storytelling are central: A River Runs Through It, Wonder Boys, Ordinary People, The Shape of Things and Unforgiven. Kupfer's readings of the films explore the role of story creation in knowing ourselves and planning our future, in structuring social relationships, and in sharpening our experience of popular culture - including mass-marketed (...) films. (shrink)

The moving frame of a tracking or crane shot, or of a camera tilt or pan, can affect the way we engage with a film narrative. In this paper, I argue that certain uses of the moving frame in narrative fiction film prescribe us to imagine ourselves moving through the world of the film. The existence of such an imaginative prescription ultimately threatens the necessity of the cinematic narrator. In light of the standard indeterminacy of our means of access to (...) fictions, the prescription to imagine moving is not accompanied by a prescription to imagine a narrator providing us with a moving view. (shrink)

This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.

This paper reveals an ulterior motive for insisting on the necessary presence of narrators in film: the desire to fit film into a literary paradigm. Despite important theoretical links between film and literature, the assumption that films must be like novels in always having narrators is unsound. By moving beyond literature in the comparison of narrative media, and focusing specifically on cases of ‘breaking the fourth wall’ in film and theatre, we find that the presence and function of a cinematic (...) narrator depends as much on the features of a specific work as it does on the nature of narrative. (shrink)

In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...) Levinson's ontological-gap argument. Finally, I outline an alternative "minimal theory" of narrators, and some consequences thereof. (shrink)

This chapter contains sections titled: Some Issues in the Philosophy of Film Film Narration: Symmetry or Asymmetry? The A Priori Argument Three Models of Implicit Cinematic Narrators Absurd Imaginings and Silly Questions Literary Narrators Medium‐Specific Explanations.

Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.