Saturday, September 03, 2005

'Maybe You Got a Kid/Maybe You Got a Pretty Wife/The Only Thing I Got/Has Been Bothering Me My Whole Life': Narrative and Bruce Springsteen's NEBRASKA

We're used to studying narrative and methods of storytelling in movies and in written fiction, but sometimes we overlook how narrative is used in music, perhaps because the narratives of contemporary popular music tend to be very simple (and, to be somewhat controversial, incredibly banal).

Before Springsteen acquired his status as a pop music icon in the 1980s, and attempted to shed that image in the 1990s, his 1982 album Nebraska was the high point of his career. Arguably, its pared-down style and its lyrical complexity ensure its status as one of the most impressive pop albums to be released during the 1980s.

What is significant about Nebraska is that each of the songs has a clearly defined narrative, and many of the songs share similar themes: as Georg Gartlgruber puts it, the album 'is a sparse, purely acoustic rendition of the fallacies and drama that everyday-lives implore on regular people. There is a lot of despair, of darkness and even brutality' (CFFA, Year Unknown: np). The songs are about the dilemmas and traumas that face working men: the songs are narrated through the viewpoint of men, with women taking a peripheral role, or as in 'Atlantic City', potentially positioned as the listener. The men who narrate the stories are struggling with their lives, and each song contributes to a greater narrative: the story of Reagan's America, as viewed through the eyes of working men suffering from a depression--this is the narrative of the album as a whole. Springsteen has reputedly claimed that Nebraska is about 'American isolation: what happens to people when they're alienated from their friends and their community and their government, and their job' (quoted in Pawlowsky, 2004: np). Consider the following line from 'Atlantic City': 'I've been looking for a job/But it's hard to find./Down here it's just winners and losers/And don't get caught on the wrong side of that line/Will I'm tired of coming out on this losing end'.

Gartlgruber insightfully comments on the issues confronted in the songs' narratives: they
fall loosely into two categories: Songs about the situation of people [...] who either are about to do something stupid, which will ruin their lives, but find no other way out of the situation life has put them into (“Atlantic City”) or just think about the dirty chips live has dealt them (“State Trooper”, “Open all night”). And then there are songs about the past, some about childhood memories (“Mansion on the hill”, “Used Cars”, “My Fathers house”) which aren’t any good or visibly show that if life deals you a bad start you will have to chew on that forever, or about the way families can run you down even if you are the good guy in the family (“Highway Patrolman”) (ibid).

In each song, Springsteen narrates from the viewpoint of a different character, deconstructing the myths associated with how American society was represented during the Reagan era, including its romanticisation of childhood (in Nebraska, the characters are damaged by their childhoods--as the poet Phillip Larkin once wrote, 'They f--k you up, your mum and dad/They don't mean to, but they do').

Despite the bleakness of most of the songs, there's a strong sense of pragmatism (and potential hope) that runs throughout the album: 'Everything dies, baby/That's a fact./But maybe everything that dies/Someday comes back' ('Atlantic City'). The album is topped off by a track entitled 'Reason to Believe' in which Springsteen asks 'We at the end of every hard-earned day/We find some reason to believe'.

References
CFFA, Year Unknown: 'Bruce Springsteen "Nebraska"'. [Online] http://www.monochrom.at/cracked/reviews/TR%20Springsteen.htm

Pawlowsky, Emily, 2004: 'Bruce Springsteen's Nebraska from a variety of theoretical perspectives'. [Online] http://www.monochrom.at/cracked/reviews/TR%20Springsteen2.htm

Original text: ©Paul Andrew Julian Lewis, 2005

posted by Paul A J Lewis at 5:58 pm 1 comments

Tuesday, August 30, 2005

ALIEN 2: SULLA TERRA (Ciro Ippolito, 1980)

posted by Paul A J Lewis at 12:32 am 0 comments

Monday, August 29, 2005

Mise-en-scène: analysis of a sequence from COLLATERAL DAMAGE (Andrew Davis, 2001)


Watch the closing sequence from Andrew Davis' movie Collateral Damage.

Analyse the use of mise-en-scène within this sequence. What does the mise-en-scène tell us about the characters, narrative, themes and conflicts within the film?


Analysis: Costume & Props:
Gordy Brewer’s (Arnold Schwarzenegger) costume identifies him as a ‘blue collar’ worker (he is a fireman).
He is contrasted with the ‘white collar’ workers who populate the CIA offices: he is a man of action, and is capable of solving a situation in which they simply panic.
However, the CIA agent Peter Brandt (Elias Koteas) is likewise dressed casually, suggesting similarities with Brewer.
The computers and desks tell us that the sequence takes place in an office building; the formal, drab colour scheme tells us that this building is most likely a government building.

The ‘clutter’ of the upper offices is contrasted (or ‘juxtaposed’) with the desolation of the underground transportation corridors.
When Brewer uses an axe to rupture a gas pipe, a sign on the pipe explains his plan to us without the aid of dialogue.
©Paul Andrew Julian Lewis, 2005

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Mise-en-scène: analysis of a sequence from FROM RUSSIA WITH LOVE (Terence Young, 1963)


Watch the fight that takes place on the Orient Express between James Bond (Sean Connery) and Donald 'Red' Grant (Robert Shaw) in Terence Young's From Russia With Love (1963).

What does the mise-en-scène tell us about the narrative and characters?



Costume:
James Bond (Sean Connery) and Donald Grant (Robert Shaw) share similar dress.

This connotes similarity between the characters, suggesting that the two men are ‘equals’ (making the subsequent fight more evenly-matched, and therefore suspenseful).

The (formal) suits and ties act as an index of professionalism; the costumes tell us the two men are experts in their particular field.

Props (Weapons):
Guns act as symbols of violence.
At the beginning, Bond holds a gun on Grant; later, Grant holds a gun on Bond.
This ‘switching’ of the prop between characters acts as an index of the shifting power balance between Bond and Grant, again reinforcing their status as ‘equals’.

Other Props:
Bond’s briefcase contains gold coins given to him by Q; these act as an index of the wealth of the British Government (for whom Bond works).
We should recognise the set as the interior of a train compartment.

The map on the wall behind Bond indicates that the train journey takes place on the continent of Europe (and not, for example, in America).
When Grant puts on his gloves, we know that he means to harm Bond; the gloves act as an index of his intention to harm Bond.


Space and Lighting:
Director Terence Young stated that the closed confines of the train compartment made the fight seem more ‘intimate’ and more violent (commentary, 2001 DVD release).
The absence of light during the fight scene connotes danger (and is associated with horror movies).
The blue ‘tint’ would usually connote tranquility, but here acts as an index of nighttime (the setting of the sequence).

©Paul Andrew Julian Lewis, 2005


posted by Paul A J Lewis at 4:10 pm 0 comments

Mise-en-scène: class notes

Defining ‘mise-en-scène’
The term ‘mise-en-scène’:
  • Originates in the theatre
  • Means ‘staging’
  • is a French phrase that translates as ‘putting into the scene’

Examining mise-en-scène involves looking for the individual signs/clues that help us to read/analyse the image.

One of the ways in which we can do this involves breaking the image down into a list of key elements which can be analysed according to the rules of semiotics.


Mise-en-scène includes/is made up of
  • Lighting
  • Shadows
  • Costume
  • Décor: sets & props
  • Colour within the image
  • Physical performances/Physical characteristics of the performers
  • Placement of the actors in relation to each other.

Examining mise-en-scène in still & moving images
When you examine a film sequence, consider:
  • What is contained within the mise-en-scène;
  • What these clues within the mise-en-scène tell us about the narrative/characters.
©Paul Andrew Julian Lewis, 2005

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Saturday, August 27, 2005

MR NO LEGS and HANDS OF STEEL


Read my thoughts on MR NO LEGS (aka THE AMAZING MR NO LEGS) (Riccou Browning, 1981) and Sergio Martino's MANI DI PIETRE/HANDS OF STEEL (1986): two obscure films from long-dead genres.


Could these movies be made today? Would they stand a chance in competition with contemporary Hollywood movies? Would they be shown in cinemas? And would they find an audience today?


posted by Paul A J Lewis at 1:23 am 0 comments

Friday, August 26, 2005

Semiotics: An Introduction to Analysing Images

What is Semiotics?
Semiotics is:
‘The study of the social production of meaning from sign systems […] a theoretical approach and its associated methods of analysis'
O’Sullivan, Tim, 1994: Key Concepts in Communication and Cultural Studies. London: Routledge: 281


Semiotics is:
  • A ‘science of signs’
  • Derived from the work of the Swiss linguist Ferdinand de Saussure (1857-1913) and the American philosopher Charles Sanders Peirce (1839-1914)
  • Related to linguistics (the study of languages)
  • A way of studying how ‘sign systems’ (e.g. spoken & written languages, images) create meaning


Signs
Signs are recognisable words/images that we associate with ideas.

A sign has two parts:
  • Signifier: the object/word (e.g. a red rose)
  • Signified/Referent: the idea associated with the sign (e.g. love, passion)




Denotative & Connotative Meaning
Denotation:
Concrete or literal meaning of an object or word; the first order of meaning.

Connotation:
The more abstract meanings attributed to the sign by our culture; the second order of meaning.

Signs denote or connote certain ideas: they have two levels of meaning.



Analysis: poster--'Escape From Alcatraz' (Don Siegel, 1979)
The image denotes Clint Eastwood holding a tool and breaking through a wall.

The image possesses connotations of escape and imprisonment; our interpretation of the image may depend on whether or not we recognise the image of Alcatraz--the place has strong cultural associations that may impact on our interpretation of the poster image.






The connotative meaning of an image can be altered by manipulating the framing, focus, lighting and angle.

In films, connotative meanings can be altered by the order in which shots are edited together (or use of sound).



Different Types of Signs
There are three major types of sign:
  • Icon: the icon resembles what it signifies (e.g. a rose is an icon of ‘real’ roses)
  • Index: the index acts as evidence of its signified/referent (e.g. smoke is indexical of fire)
  • Symbol: the symbol has an arbitrary (culturally-constructed) connection with its signified (e.g. a police uniform/siren symbolises authority)
Icon
Goldfinger (Guy Hamilton, 1963)

The image of Sean Connery is an icon (of Sean Connery); it resembles its referent (the real Sean Connery).


Index


The storm clouds are an index of bad weather; they act as evidence of bad weather.









Symbol
Get Carter (Mike Hodges, 1971)

The gun is a symbol of violence; our culture associates it with violence.









Metaphor
Metaphors
  • Are associated with poetry
  • Communicate the unknown by putting it into the context of the known
  • Condense two different ideas into one single item
For example, the phrase 'The river snakes through the jungle' explains the flow of the river (unknown) through comparing it with the motion of a snake (known).

We can examine metaphors within images by examining the individual signs contained within the image.



Semiotics: Practice
What signs are contained in this still from Wall Street (Oliver Stone, 1987)



    • The posture of Gordon Gekko (Michael Douglass) connotes confidence and authority.

    • The trophies in the background connote his competitiveness.

    • The computers connote ‘high-tech’ (for the 1980s).

    • The garish paintings and decorations (large ashtray, lamp) connote wealth but a lack of taste.

    • The clocks connote that Gekko’s work revolves around different time zones.

    • The cluttered desk connotes Gekko’s commitment to work.

    • Gekko’s clothes (tie, braces, gold watch) connote the ‘money culture’ of the 1980s.

Metaphor: The image acts explains the culture of Wall Street in the 1980s: it acts as a metaphor for this culture.


Tasks
Find one still image (preferably a film still or poster).

Write an analysis of the image (two sides of A4). Identify the signs; identify the denotative and connotative levels of meaning; identify the different types of signs (icon, index & symbol); identify the way in which the image can act as a metaphor for something (ie explain an idea).

Research different shot types and their connotations:
    Medium shot
    Long shot
    Close up
    High/Low angleDutch angle/Canted angle

©Paul Andrew Julian Lewis, 2005



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Studying Narrative: Class Notes

Defining 'Narrative'
The word narrative essentially refers to ‘story’.

Narratology is the study of narratives/stories (and their structures and recurring character types).


Narrative:
  • Common to all forms of storytelling (literature, documentaries, fairy tales, history books, biographies).
  • Narratives can also be found in painting, mythology and theatre.

How do we study narratives?
The study of narratives involves examining the codes and conventions (traditional ways of doing things) that are used to tell stories.

Most narratives in Hollywood films strive to attain a level of realism (or verisimilitude) in order for audiences to identify with the events taking place on screen.


Narrative & Diegesis
In the 1980s, Gérard Genette distinguished between narrative, narrating and diegesis.
  • Narrating refers to the actual act of telling the story (e.g. a voice-over telling us the story).
  • Narrative = story.
  • Diegesis = to the relationships between the events that make up the story (the causal relationships between events, or the ‘plot’).
The modernist author E. M. Forster made a similar distinction between ‘story’ and ‘plot’ (or ‘diegesis’). For Forster, plot differs from story in the way in which it establishes a causative relationship between events: whereas a story is a description of events, a plot seeks to explain how the events impact on one another.

Forster's example of a story was 'The King died, and then the Queen died'; his example of a plot was 'The King died, and then the Queen died of grief'.


What function does narrative serve for us as spectators?
When we watch a film, we use our experience of similar narratives to try to guess the ending of the film.

We usually expect narratives to be based on cause-and-effect logic (i.e. one event causes the next event, which causes the next event), and to possess a clear beginning, middle and end. These types of narrative are described as linear narratives.


Approaches to Narratology
How are narratives structured?
One of the key figures in the study of narrative is the early-Twentieth Century Russian Formalist Tzvetan Todorov.
Todorov argued that narratives usually start at a point of stable equilibrium (i.e. everything is calm, and under control).
This equilibrium suffers a disruption: something happens that threatens the characters.
The heroes take action against the threat, and at the end of the film the equilibrium is restored and the narrative reaches its resolution.

The basic formula for a narrative, then, is equilibrium—disruption—restoration of equilibrium/resolution.
However, the equilibrium at the end of the narrative is usually different from the equilibrium at the start of the film, very often because the characters have learnt something along the way.

Can you identify the equilibrium—disruption—resolution narrative chain in a recent Hollywood film?


Narratives and Sequences
Film narratives can be broken down into sequences.
Each sequence contains its own mini-narrative; its own equilibrium—disruption—resolution narrative chain.

Sequence Length
In Hollywood films, sequences usually last for between 5 and 10 mins;
An average Hollywood movie (90-120mins) will contain about 25 to 30 sequences.

Sequences in European or Asian cinema can last much longer;
You may find that European and Asian movies contain fewer sequences and work at a much slower pace than Hollywood movies.


Narrative and Character Types
In the 1920s, another Russian Formalist named Vladimir Propp argued that most narratives contained eight key character types
(examples from The Matrix, 1999):
  • The Hero (Anderson/Neo)
  • The Villain (The Matrix/The Agents)
  • The Donor (gives something to the Hero that helps him complete his quest) (The Oracle, or Morpheus)
  • The Helper (the Hero’s ‘assistant’) (Tank)
  • The Princess (the ‘love interest,’ who often has to be rescued) (Trinity)
  • Her Father (an authority figure to the Princess) (Morpheus)
  • The Dispatcher (the person who sends the Hero on his quest) (Morpheus again)
  • The False Hero (somebody who appears to be a second Hero, but is in fact a Villain, or is defeated by the Villain part-way through the narrative) (Cypher)
Propp also argued that many narratives possess a structure similar to the following:

  1. 'A member of a family leaves home (the hero is introduced);
  2. An interdiction is addressed to the hero ('don't go there', 'go to this place');
  3. The interdiction is violated (villain enters the tale);The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc; or intended victim questions the villain);
  4. The villain gains information about the victim;
  5. The villain attempts to deceive the victim to take possession of victim or victim's belongings (trickery; villain disguised, tries to win confidence of victim);
  6. Victim taken in by deception, unwittingly helping the enemy;
  7. Villain causes harm/injury to family member (by abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, expels someone,
  8. casts spell on someone, substitutes child etc, comits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc);
  9. Misfortune or lack is made known, (hero is dispatched, hears call for help etc/ alternative is that victimised hero is sent away, freed from imprisonment);
  10. Seeker agrees to, or decides upon counter-action;
  11. Hero leaves home;
  12. Hero is tested, interrogated, attacked etc, preparing the way for his/her receiving magical agent or helper (donor);
  13. Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against them);
  14. Hero acquires use of a magical agent (directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters);
  15. Hero is transferred, delivered or led to whereabouts of an object of the search;
  16. Hero and villain join in direct combat;
  17. Hero is branded (wounded/marked, receives ring or scarf);
  18. Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
  19. Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revivied, captive freed);
  20. Hero returns;
  21. Hero is pursued (pursuer tries to kill, eat, undermine the hero);
  22. Hero is rescued from pursuit (obstacles delay pursuer, hero hides or is hidden, hero transforms unrecognisably, hero saved from attempt on his/her life);
  23. Hero unrecognised, arrives home or in another country;
  24. False hero presents unfounded claims;
  25. Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
  26. Task is resolved;
  27. Hero is recognised (by mark, brand, or thing given to him/her);
  28. False hero or villain is exposed;
  29. Hero is given a new appearance (is made whole, handsome, new garments etc);
  30. Villain is punished;
  31. Hero marries and ascends the throne (is rewarded/promoted).'
Quoted from: Jerry Everard, Year Unknown: 'Introduction to Vladimir Propp'. [Online] URL: http://mural.uv.es/vifresal/Propp.htm

Homework:
a) Research definitions of some terms associated with semiotics (sign, icon, index, symbol)
b) Watch one film: identify the equilibrium—disruption—resolution chain; describe and discuss the e—d—r chain in one sequence; and identify as many of Propp’s eight character types as possible. (2 sides of A4.)
©Paul Andrew Julian Lewis, 2005

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