• Opening Sequence
• Character
• Setting
• Storyline
• Structuring of Time
• Cause and Effect
• Point of View (From Which the Narrative is Presented)
• Closure or Closing Sequence

Production Elements

• Camera and Film:

1. Camera Angle
2. Eye-level
3. High Angle
4. Low Angle
5. Birds Eye
6. Unusual

• Camera Movement:

1. Panning
2. Zooming
3. Tilting
4. Camera Shot
5. Close-up
6. Extreme Close-up
7. Mid Shot
8. Long Shot
9. Extreme Long Shot
10. Point of View / Subjective
11. Reaction Shot

• Lighting:

1. Soft Lighting
2. Hard Lighting
3. High Key lighting
4. Low Key Lighting

• Visual Composition (mise-en-scene)
• Acting
• Editing
• Sound:

1. Diegectic
2. Non-Diegectic
3. Dialogue
4. Music / Score
5. Sound Effects
6. Voice Over

~ Story Elements ~

Opening Sequence

The opening of a film introduces the audience to the world of time and space in which the narrative takes place. Opening sequences provide a platform from which the narrative is launched and are often called ‘set ups’.

During the opening sequence the filmmaker introduces the characters and begins to develop these characters for the audience who is also orientated into both the physical settings and the historical settings.

Character

Character development is the relation to the audience of a character’s personality, beliefs, strengths, weaknesses and emotions. We are normally introduced to the main protagonist at the start of the narrative. From this point onwards, we learn more about who they really are.

Character development can be done through various narrative devices. The simplest is the traditional ‘Once upon a time…’ fairytale format, which we are immediately introduce to the main character and then told their story.

Another technique is to look back on the character’s life or part of it.

Setting

The setting of a fictional film narrative refers to the location and the historical period in which the story takes place.

Location refers to the physical geography of the story.

The setting of a narrative helps to tell the story because the audience already has an understanding of settings and their context within film genres.

In genres such as western, film noir, comedy, romantic comedy, science fiction and fantasy, the audience also understands the codes and conventions that apply to specific genres.

Storyline

Story lines, including

• Central and concurrent story lines and the motivations, conflicts or narrative issues raised in them.
• Ways in which story lines comment upon, contrast or interrelate with other story lines in the text.

Structuring of Time

Film narratives operate within codes and conventions, and as the audience we view them with an understanding of these conventions. The structuring of time within a narrative is an example of these conventions. Film uses convention top help the audiences overcome the limitations of real time. Occasionally, a film narrative presents the story in real time, in other words, screen time and story time are the same.

Audiences accept the convention that films compress time so that the events of a character’s lifetime can occur for us within 2 hours we have set aside to watch the film.

Time can also be manipulated in a film narrative though such devices as time-lapse photography, slow motion, fast motion, flashback and flash forward.

Cause and Effect

Cause and effect is a narrative function. Everything that happens in a story must happen for a reason. There must be a cause for there to be an effect. The cause and effect chain is a foundation of story telling.

Point of View (From Which the Narrative is Presented)

In presenting the narrative, the filmmaker decides from whose point of view the story will be told. In a conventionally plotted narrative, the point of view that one or two main protagonists. Point of view does not need to be limited to only one character.

Point of View in which the narrative is presented, including

• Character, or other viewpoint
• Story information given or withheld at different points of the narrative

Closure or Closing Sequence

The closing sequence brings the plot of climax both in a story and emotional sense; it is the point at where the audience reaches an understanding about unanswered questions relating to the story and characters.

~ Production Elements ~

Camera/Film:

Camera is the most obvious of the production elements. Camera techniques develop the plot, narrative possibilities and characters. The camera angle affects how viewers will perceive that subject. Angles can establish relationships, create moods and develop story lines. Camera movement can also be used to create emotion or draw the audience’s attention to a subject. Camera shots are used in context to a situation in the film.

There are 5 basic camera angles:

• Eye-level
• High Angle
• Low Angle
• Birds Eye
• Unusual

There are 3 basic camera movements:

• Panning
• Zooming
• Tilting

There are 7 basic camera shots:

• Close-up
• Extreme Close-up
• Medium Shot
• Long Shot
• Extreme Long Shot
• Point of View or Subjective
• Reaction Shot

Additionally the film format will affect the mood and look of a film. Some format options available are black and white, colour film, digital video and animation.

Lighting:

Lighting allows objects and characters to be seen by the audience. This can be the most creative elements of film making. It can also help with character development. Characters can be made to look friendly or evil through the use of lighting. The background of a shot is lit up to create a broad depth of field. Additionally lighting can describe a relationship or set a mood.

Lighting can be described in four categories: Soft, Hard, High-key and Low-key.

• Soft Lighting: wraps around an object, casting shadows with soft edges. This creates a soft, warm feeling.
• Hard Lighting: Consists of bright whites and dark blacks and creates harder edged shadows. This creates a cruel, cold feeling.
• High-key Lighting: Creates little shadow. Set tends to be flooded with light. This is often used to create a normal “Happy” scene. The use of strong key lights mean that only parts of the set are lit other parts remain in shadow. This can create a very dramatic effect with only some object being high-lighted.
• Low-key Lighting: If key lights are set at a Low point very strong shadows are thrown on surfaces. This can create an eerie effect.

Lighting also helps convey the point of view of a character.

Visual Composition (Mise – en – Scene):

Visual composition refers to everything within the frame. It determines how the shot develops the characters and storyline. It can also incite responses and emotions within the audience.

Questions that need to be considered for visual composition are:

• How will the shot be lit?
• How will the shot be arranged?
• Where will the actors be placed?
• What props will be placed in the shot?

In the movie Psycho, Alfred Hitchcock left nothing to chance with the visual composition of his movie. Three examples of this are:

Acting:

This refers to the work of an actor or actress who tells the story by portraying a character. Through the use of body language, tone of voice, posture and delivery of lines develops the character and creates a relationship between the character and audience. In some cases the qualities of the character are due to the reputation of the character.

Editing:

Editing is the process of placing images and sound in an order to tell a story and create emotion. Editing is the process of looking at the footage shot and selecting the most appropriate shots which then are assembled in a sequence that conveys a narrative to the audience. It can establish setting, develop character, restructure time and express point of view.

Editing serves three major purposes:

• Narrative: allows the audience to follow the character throughout the narrative and can also express a character’s thoughts.
• Emotional: the way in which a film is cut can produce an emotional response from the audience.
• Intellectual Editing: the director is able to plant a thought or concept in the audience’s mind.

Additionally editors often combine visual images and sounds to develop narratives.

Sound:

Sound can be divided into two categories:

• Diegetic
• Non – Diegetic

Diegetic sound is where the narrator tells the story. The narrator presents the actions and thoughts of the character. Also the sound of glass breaking as a character smashes a mirror is referred to as diegetic sound.

Non – Diegetic sound comes from the outside world of the story. This can include the sound of a characters heart beat as a character runs or music playing in the background of a scene.

Other types of sound include:

• Dialogue
• Music/Score
• Sound-effects
• Voice over

The state of equilibrium in the film Napoleon Dynamite is quite obvious, as the film begins with Napoleon on his way to school on the school bus. He is seen playing tetherball by himself, getting taunted by the jocks and beaten up by the bully and it can be inferred that he is a social outcast with no friends. This, however, is quite normal for Napoleon. His older brother is soon introduced when Napoleon goes home. Kip has been on the computer all day chatting to his Internet girlfriend and grandma is at home. Everything up until this point is quite the norm in the Dynamite household, that is until grandma goes on a trip with friends and injures herself. With grandma gone, Uncle Rico arrives to take care of Napoleon and his thirty-two year old brother. This event disrupts the equilibrium and sets off a chain of narrative events that help steer the course of the film. At the end of Napoleon Dynamite there is a new state of equilibrium as most of the characters have changed significantly. Napoleon has a best friend in Pedro Sanchez, who has also been elected class president, and he begins a relationship with Deb. Kip moves away with his girlfriend he met on the Internet, grandma returns home and uncle Rico is reunited with his ex-girlfriend. The new state of equilibrium is a result of a number of major kernel and satellite events during the course of the narrative.

One of the first kernel events in Napoleon Dynamite occurs when Napoleon first meets Pedro Sanchez, the new student at his school. This pairing of Napoleon and Pedro opens up many opportunities and possibilities in the film. It creates a friendship that eventually leads to their adventures and quest for self-fulfilment. A second important kernel event is when Uncle Rico comes to look after Napoleon and Kip, as grandma is in hospital. This begins a family feud between Rico and Napoleon, while Rico and Kip form a partnership, which inturn opens up opportunities for Kip and his girlfriend. Another important kernel event is when Pedro decides to run for class president after seeing a sign advertising the upcoming elections at the dance. This event begins another quest for both Napoleon and Pedro, as they combine their skills to find a way for Pedro to get noticed and beat popular girl, Summer Wheatley in the elections (Conan, 1988 p54).

As in any narrative, Napoleon Dynamite utilizes a number of main characters in actantial roles as agents of action (Fowler, 1977). These agents of action add depth to the plot and help move narrative events to the eventual conclusion and restore the equilibrium. Napoleon is a subject, as he is on a quest to make Uncle Rico leave and acts as a helper to Pedro, as they both want Pedro to be elected as class president. He is also an object of Deb, as it can be inferred she is intent on getting closer to Napoleon. Pedro's actantial role is also that of a subject, as he is on a quest to beat Summer Wheatley and become class president. Napoleons brother Kip's actantial role is one of a subject. Kip is on a quest to bring his Internet girlfriend, who he believes is his soul mate, to visit him in Preston, Idaho. Uncle Rico acts as an object of Napoleon, as Napoleon is on a quest to make Rico leave. Uncle Rico also performs the actantial role of hinderer, by making Napoleon's life harder than it usually is (Fowler, 1977).

During the narrative film, Napoleon Dynamite, there are plot events that are specifically covered, there are also many parts to the story that can be safely assumed. Napoleon and Kip live with their grandma, this is covered in the plot, so it can be inferred that their parents have either passed away or left them. At the beginning of the story not much is known about Napoleon, however it is assumed that Napoleon has few, if any friends at all. While not covered in the plot, it can also be inferred that Napoleon is a liar and this may be one reason he has so few friends. From how each character dresses at school, it can be inferred that Summer Wheatley it the "cheerleader" type, dating Don the typical jock. Other non-diegetic themes in the narrative such as music and clothing suggest the film is taking place in the mid to late 1980s. It can be assumed Napoleon Dynamite is a modern day story however, with such non-diegetic props as the Internet and mobile phones being present. It revolves around students who attend a high school in Preston, Idaho, though time and place are never specifically covered during the film. Another disparity in story and plot is when Napoleon is in the second hand thrift store. The viewers see him browsing and he picks up a VHS tape called "D-Qwons Dance Grooves". The film never shows Napoleon purchase this video, but at home you see him insert a video into the VHS player and he begins to practice dance moves. It can be inferred that Napoleon did purchase this video, though the plot does not cover this detail, this event proves quite critical further into the story.

The film moves from event to event in chronological order and is able to utilize a number of narrative forms such as ellipses, summary, scenes and descriptive pauses. An example of an ellipse is when Napoleon draws a picture of Trisha, his date to the school dance. The viewer does not see much of Napoleon drawing the picture, but finds out later it took him over three hours just to shade the upper lip. A summary is used when Napoleon goes to work at the chicken farm to make some extra money. This segment of the film is broken up into a series of scenes, separated using ellipses. There are also a number of obvious scenes in Napoleon Dynamite. During the scenes at the diner, when Kip and Uncle Rico are planning their impending project, the scenes are shown in real-time; there is no summary or ellipses present. Descriptive pause is used at the beginning of the film, as up until the first kernel event of Pedro being introduced, Napoleon's character is too introduced and established as the friendless, cynical nerd.

Narrative Elements

As mentioned previously, Kernel and satellite events are frequent in Napoleon Dynamite and successfully continue the flow of the movie, creating opportunities for characters and furthering both the plot and subplots (Conan, 1988 p54). The first important kernel event in the film is when Napoleon meets and befriends Pedro, the new Mexican student. They form an instant bond and the characters compliment each other perfectly. The second kernel event that opens up opportunities for Pedro is when he decides to ask Summer Wheatley to the school dance, and they are unsure what Summer's response will be. This indirectly affects Napoleon, as he must suddenly decide on someone to ask, Shortly after, a key satellite event is when Napoleon and Pedro leave a cake Pedro baked for Summer on her doorstep. This brings us closer to Summer's response, but does not open any more opportunities. The next day at school when Napoleon is playing tetherball by himself, there is another key kernel event, when Summer reveals she does not want to go to the dance with Pedro. Once again, this event indirectly affects Napoleon, as he learns Pedro asked Deb to the dance as "backup". Once again, new opportunities exist for Pedro and Deb, and Napoleon has to find someone else to take to the dance, as he was obviously planning to take Deb. Another Kernel event that stems from this event is when Napoleon draws a picture of Trisha and asks her to the dance. She unwillingly accepts his proposal and this acts as a satellite event leading up to the dance. A major kernel event occurs at the dance when Pedro notices a sign advertising an impending student election for class president; Pedro decides to run in the election against Summer Wheatley. Napoleon offers his services and a number of satellite events occur leading up the election. Events such as Napoleon and Pedro putting signs up around the school and Pedro making a piñata that resembles Summer. At the election assembly, other examples of satellite events are Napoleons dance in front of the school and Pedro's speech. Napoleon learned these dance moves from a tape he bought at random in a second hand store. All of these satellite events aid in the progression of the plot, while not creating more opportunities, but giving Pedro a better chance at winning the election (Conan, 1988 p54). There are also a number of kernel and satellite events that help the continuation of the sub-plots in the film. One such kernel event is when Uncle Rico gives Kip a job as a door-to-door salesman. This gives Kip the opening to save some money to bring his girlfriend to visit him. When Lafawnda, his girlfriend, finally arrives, she adds more to the narrative then one would have thought. When she meets Napoleon, and finds out he is practicing dance moves, she gives him a cassette tape her cousin made. This tape contains a song that Napoleon dances to during the election assembly, as part of Pedro's presentation, resulting in him winning the election. It proved to be a great opportunity for Napoleon, and if she hadn't given him this cassette, Pedro may not have been victorious against Summer, and thus equilibrium not restored. It is quite interesting how the film reaches disequilibrium and through the actantial roles of the characters equilibrium returns, however, each character has grown and circumstances have changed. The one event, which causes disequilibrium, is when grandma is injured and Uncle Rico is introduced. When equilibrium returns, each character has been on a journey and grown significantly. Although not stated in the plot, it is believed that Napoleon and Deb get together as they are seen playing tetherball as the film ends; Napoleon is seen playing tetherball by himself throughout the film. Kip is finally united with Lafawnda, who he believes is his soul mate. Uncle Rico eventually leaves the Dynamite household and gets back together with his ex-girlfriend, while grandma comes home. Pedro is elected class president and there is a definite sense of closure for all characters.

Characterization Elements

The film Napoleon Dynamite is a very character driven story and can be classified character-centred more so than action-centred (Rimmon-Kenan, 1983). On the surface, the characters seem to be one-dimensional, but upon further investigation, each character plays an integral role in communicating the story. Characters traits are portrayed in an indirect presentation throughout the film with the use of one-time and habitual actions. Napoleon quickly becomes known as a character that often lies and makes quite outrageous claims. One clear example is when the jocks are taunting him in the changing rooms before gym class; Napoleon states he was in Alaska all summer, shooting wolverines with his uncle. Soon after, he meets Pedro and tells of how his girlfriend cannot make it to the school dance, because of a modelling shoot in another state. He then shows Pedro a picture of this non-existent girlfriend. The audience clearly knows Napoleon does not have a girlfriend. Napoleons contemplated lying says much about his character; he is insecure, however, it seems his telling of stories seems to amuse himself and the viewer more so than other characters (Rimmon-Kenan, 1983). This contemplated lying also proves Napoleon says what is on his mind and acts at the spur of the moment, without thinking too much of the consequences. This quality plays an important part at the end of the film when he does a solo dance in front of the entire school. Pedro finds out just before his speech that he also needs a skit. Napoleon has an idea to do a dance in front of the entire school, and ultimately, helps Pedro wins the class election.

Speech and appearance in the film is used to indirectly add depth and develop characters (Rimmon-Kenan, 1983). Napoleon is immediately classed as an outsider at school with his consistent grunts and moans and his obsession with mythical animals. His appearance remains true to current ideology of what a nerd at high school should look like; tight jeans, very outdated moon boots, a shirt with some obscure image printed on it, thick glasses and a red afro. His brother Kip is much the same, in that he speaks with a high-pitched voice, has a lisp and dresses the same as Napoleon. Through what Uncle Rico says about his failed football days, it is obvious he is constantly living in the past and has never quite made anything of his life. Deb's character is solely defined by what she says, or more specifically what she does not say. She is very shy and when she does speak, she talks quietly. This is in contrast to Napoleon's character who says what he thinks and is not shy at all. Minor characters like Don and Summer's social status at school are portrayed through their external appearance. Summer dresses like her family has more money than Napoleon or Deb's, and Don, her boyfriend, wears collared shirts and has the appearance of a jock. Don and Summer also compliment each other well as the couple everyone at school wants to be (Rimmon-Kenan, 1983).

As also briefly discussed earlier, all major characters in Napoleon Dynamite are all agents of action in clear actantial roles (Fowler, 1977). When Uncle Rico arrives, he is immediately established as object of Napoleon and hinders his quests a number of times during the film. He diminishes Napoleons chances of a relationship with Deb, by lying to her in order to sell her products and makes him look like a fool in front of other classmates. Uncle Rico makes life much harder for Napoleon, but in contrast, acts as a helper to Napoleon's older brother Kip. Uncle Rico gives Kip a job as a door-to-door salesman so Kip can save some money to bring Lafawnda, his girlfriend he knows only through the Internet, to visit him in Preston. Napoleon too has a various actantial roles as subject and helper. Napoleon is on a quest to rid his household of Uncle Rico, as all Rico does is make life tough for Napoleon. The actantial roles these characters perform are vital to the plot and each character, no matter how minor, all characters play important roles in the film and its narrative structure (Fowler, 1977).

Ironically the clip from the “Last Legion” starts with Aurelius (Colin Firth) asking Mira (Aishwarya Rai) to fight with the villains who are following both of them. Considering that men are supposed to protect women, this request is quite unusual, but Mira is special: she is an extremely skilful and fast warrior. The fighting scene is very spectacular and allows us to admire Mira's exotic beauty.

The next clip is interpreted by actress Ha Ji-won as Detective Namsoon and Dong Wong as Ahn in the last scene from a Korean movie called “The Duellist”. After a decisive battle between the Police and a corrupted gang, Namsoon is told that Ahn, her enemy, and also her secret love, is dead. Distressed, she returns to places where she had encountered him. Unexpectedly, the duellist appears in front of her and they start to fight again. The beauty of the duel resides in the tender way they express their feelings during performing highly dangerous martial arts movements. An eye witness describes the fight “like an act of love making”.

Many parts of the movie “Aeon Flux” are subtle cat walks in which Charlise Therone's beauty is enhanced by sexy futuristic clothes. Aeon Flux's intelligence, dignity, self control and flexibility contribute to making her an attractive character.

I cannot imagine a better choice than Angelina Jolie for Lara Croft. Without her there would be neither Lara Croft nor a successful “Tomb Raider” film. When I watched the movie I never had the feeling that anything bad can happen to the heroine, but honestly I really enjoyed the movie because of Angelina's very pleasant appearance.

Uma Thurman, interpreting the Bride, was also a very good choice for the Kill Bill series. There are many things that make the Bride a super-heroine: her commitment to survive at all cost even when she has very few chances, for instance when she is buried alive; her uncanny mental power, for instance when she heals her paralyses; or her swordsman skills, when she confronts the Crazy 88s.

I choose the scene from the Japanese restaurant because her eyes express both her suffering and willpower. Listen the music carefully. the first part emphasizes the protest against the way she was treated, while the second part, after she cuts the secretary's arm, shows her determination to confront O-Ren Ishii (Lucy Liu).

Mei, interpreted by Chinese actress Ziyi Zhang, in the “House of the Flying Daggers” becomes a super-heroine exactly for the reason that she doesn't pretend to be one. She is more delicate than other heroines, but she is able to show much fortitude, courage and love that make her a more charismatic heroine than those who just kill endless gangs of rogues.

The movie “Elektra”, having Jennifer Garner as the main protagonist, continues the storyline of the film Daredevil, wherein Elektra is killed by an evil man called Bullseye. Sensei Stick, who masters a martial art that allows him to foresee the future and control life and death, revives and trains Elektra to fight the evil paranormal gang called the Hand. As she is a person who came back from the death, Elektra has a subtle darkness side and a dramatic appearance that gives her a unique aura among the other heroines.

In the Fifth element Leeloo (Milla Jovovich) is a sort of goddess who has to unify the energy of air, water, earth and fire in an ancient Egyptian temple in order to destroy the Evil that menaces Earth. As goddess she can easily fight evil aliens, but her true nature is love and compassion.

Harold Crick (Will Ferrell), Karen Eiffel (Emma Thompson), Jules Hilbert (Dustin Hoffman), Ana Pascal (Maggie Gyllenhaal), Penny Escher (Queen Latifah)

Directed by Marc Forster; written by Zach Helm; director of photography, Roberto Schaefer; edited by Matt Chesse; music by Britt Daniel; production designer, Kevin Thompson; produced by Lindsay Doran; released by Columbia Pictures.

Running time: 1hr 45 mins.

Go see “Stranger Than Fiction”

I could see a lot of people not liking this film, but I loved it. It’s got a sophisticated humor to it without being coldly intellectual. It’s a cozy film. Every character in this film gives the audience someone they would normally hate, but for some reason we can’t. Ferrell, plays an IRS agent half Spok, half Rainman, but likeable anyway. Thompson, plays the chain-smoking writer who always kills off her hero, but she suffers writer’s block so we like her anyway. Gyllenhaal plays a politically-militant, bakery owner who openly hates Ferrell, but she really seems to care about people so we like her. Even Queen Latifah’s character, whose job it is to annoy Thompson into finishing her book, is lovable for her concern for the writer’s health. Last but not least, Hoffman’s character is the kind of English professor that failed you, and me too, back in college. But the seriousness with which he tackles Ferrell’s problem is charming.

I found this film entertaining. There’s some good laughs too.

What about the “PG-13” Rating?

It’s not a movie anyone under 18 would enjoy. The humor is aimed at us literary types. I think the adult content is at pretty appropriate levels for the target market. For example there’s a scene when a bus collides with someone and it’s neither graphic nor cartoonish. The female love interest in the film, Ana Pascal, is the kind of overtly sexual gal that dresses for effect—the I’m trying not to be sexy, but I can’t help it—kinda thing. Of course Maggie Gyllenhaal is incredibly beautiful.

And of course there’s “sexual scenarios,” which is the over-amped Hollywood way of saying two nearly-clothed people are laying in bed together and they aren’t married yet. While its not good roll modeling I don’t think kids should look to movie characters as roll models. Hopefully they will get their morality from a parent.

What if I hate Will Ferrell?

This is a very different Will Ferrell. If you truly hate him you probably won’t change your mind but this isn’t Ricky Bobby. Ferrell helps the film makers pull off the nearly impossible task of showing us a boring man’s life without boring us.

Larger Story

It’s too obvious. There are some great lines in there about being a character in a story, which of course we are. The best is when Hoffman tells Ferrell that he needs to figure out whether he’s in a comedy or a tragedy. Ferrell asks what the difference is and Hoffman replies that in the end of a tragedy he dies, in a comedy he gets hitched.