engleski

Towards Multimodality: Transmedial Nature of Film

The aim of this paper is to discuss the development of narratology as a discipline in respect to film as a form. Such critical analysis draws from the works of Genette (2006) to concrete changes brought about by the debates between Chatman (1978) and Rimmon-Kenan (2002) to Bordwell’s poststructuralist concerns (2013). There are at least two levels which point to relations between the principles of a narrative construction and understanding the image: a) icons, symbols, and literary figures on a connotative level, and b) space and time on the level of frame and shot. Narrative form is most common in fictional films. Film embodies the stories we experience in our lives and presents them by a cause - effect chain relationship that occurs in time and space (Bordwell and Thompson, 2004). This paper provides the following two transmedial aspects of a film. Firstly, there is a multimodal nature of film as a form. Due to Genette’s narrative schemes (2006), special emphasis is put on interpretation of modes and context as a central to communication. Therefore Chatman’s work Story and Discourse (1978) come into consideration. Secondly, the model for construction of the storyline cues follows the paradigmatic and syntagmatic approach, stemming from the structuralist criticism in relation to understanding the image. In the end such approach traces back the works of Eisenstein (1968) and Metz (1974a) and reflects in the contemporary work of the researchers concerned not only with multimodal nature of film but also with other (non)digital texts, e.g. Kress and van Leeuwen (1996), Burn (2014), and Nørgaard (2009).

Narratology ; film ; image ; transmediality ; context ; communication

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