Narrative Patterns
Structural formulas and their emotional responses in film and television
DOI:
https://doi.org/10.24310/Eviternare.vi11.13856Keywords:
Cinema, Narrative, Pattern, Plot, StructureAbstract
Narrative patterns are formulas with which a plot is molded to generate an emotional response in the viewer. In the present work, two well-defined patterns that have been found in certain film and television structures are studied, so the objective of this article is to highlight their characteristics, their effects and the advantages of their use. For this, a qualitative analysis is used that, through a critical-reflective methodology, allows a thorough study of this phenomenon; Likewise, the study design is centered on two pairs of examples ordered according to each investigated narrative pattern and according to a matrix of axes that makes both the selected films and series comparable. Among the main contributions made in this work are the intention to improve the understanding of narrative structures, the academic promotion for the elaboration of better quality audiovisual products and the inclusion of narrative proposals that often go unnoticed, especially those that they constitute literary antecedents. It is concluded that the narrative patterns are formulas that fulfill an emotional function based on the alternation of fortunate and unfortunate events in the plot that occur to the characters; It is also inferred that empathy, emotional attachment and changing expectations are mobile generated by narrative patterns that attract the attention of the viewer and hook him to the plot.
Downloads
Metrics
References
Albaladejo, T. (1991). Retórica. España: Síntesis.
Aristóteles (2016). Poética. (García Bacca, J. D., Trad.). México: Universidad Nacional Autónoma de México.
Arteseros, J. (2013). La creación de emociones a través del uso de patrones de montaje en las secuencias de clímax narrativo. Trabajo final de Máster. Gandia: Universitat Politécnica de Valencia.
Beristáin, H. (1995). Diccionario de retórica y poética. México: Porrúa.
Bordwell, D. y Thompson, K. (2010). El arte cinematográfico: una introducción. Barcelona: Paidós.
Castillo, M. (2017). Análisis de la narrativa transmedia de la franquicia Star Wars desde el punto de vista de expertos en cinematografía. Tesis. Lima: Universidad César Vallejo.
Field, S. (1996). El manual del guionista. (Heras, M., Trad.). Madrid: Plot.
García Landa, J. A. (1998). Acción, relato, discurso. Estructura de la ficción narrativa. Salamanca: Ediciones Universidad de Salamanca.
Hernando Álvarez, M. S. (2000). Posibilidades teóricas de manipulación del tiempo dramático. Castilla: Estudios de Literatura 25, 85-96.
Horace (1926). Satires. Epistles. The Art of Poetry. (Fairclough, H. R., Trad.). Cambridge: Harvard University Press.
Maquiavello, J. [Jordi Maquiavello] (6 de marzo de 2021). ESCENAS LEGENDARIAS – La CARGA de los ROHIRRIM (El Señor de los Anillos) [Video]. Youtube: https://www.youtube.com/watch?v=e0c-dMnwiUA
Murphy, J. (2001). Rhetoric in the Middle Ages. A History of the Rhetorical Theory from Saint Augustine to the Renaissance. USA: Arizona Center for Medieval and Renaissance Studies.
Murtag, F. et al. (2009). The Structure of Narrative: the Case of Film Scripts. Pattern Recognit 42, 302-312.
Sánchez-Escalonilla, A. (2012). Incomunicación y trauma en el cine de M. Night Shyamalan. FilmHistoria 22 (1), 1-17.
Tedesco, M. B. (2017). Take it from the top: los reboots como complejización narrativa de la repetición. Trabajo de fin de Máster. Barcelona: Universitat Pompeu Fabra.
Vera, M. P. (2017). Arquitectura emocional a través de la narrativa cinematográfica. Sinergias entre arquitectura y cine. Trienal de Investigación FAU UCV, TPA-08, 1-12.
Zavala, L. (2016). Las fórmulas narrativas en cine y literatura: una propuesta paradigmática. Comunicación y medios 25 (34), 70-81. DOI: 10.5354/0719-1529.2016.36801
Filmografía analizada y referenciada
Araki, T. et al (Directores). (2013-2022). Shingeki no Kyojin [Serie de televisión]. Wit Studio; MAPPA.
Benioff, D. y Weiss, D. B. (Productores ejecutivos). (2011-2019). Game of Thrones [Serie de televisión]. HBO.
DiMartino, M. D. y Konietzko, B. (Productores ejecutivos). (2005-2008). Avatar: The Last Airbender [Serie de televisión]. Nickelodeon Animation Studio.
Jackson, P. (Director). (2001). The Lord of the Rings: The Fellowshuip of the Ring [película]. New Line Cinema; WingNut Films.
Jackson, P. (Director). (2002). The Lord of the Rings: The Two Towers [película]. New Line Cinema; WingNut Films.
Jackson, P. (Director). (2003). The Lord of the Rings: The Return of the King [película]. New Line Cinema; WingNut Films.
Kershner, I. (Director). (1980). Star Wars: Episode V - The Empire Strikes Back [película]. Lucasfilm.
Lucas, G. (Director). (1977). Star Wars: Episode IV - A New Hope [película]. Lucasfilm.
Marquand, R. (Director). (1983). Star Wars: Episode VI - Return of the Jedi [película]. Lucasfilm.
Mitsunaka, S. (Director). (2014-2016). Haiky?!! [Serie de televisión]. Production I. G.
Russo, A. y Russo, J. (Directores). Avengers: Infinity War [película]. Marvel Studios.
Verbinski, G. (Director). (2003). Pirates of the Caribbean: The Curse of the Black Pearl [película]. Walt Disney Pictures.
Villeneuve, D. (Director). (2021). Dune [película]. Legendary Pictures.
Wright, E (Director). (2021). Last night in Soho [película]. Focus Features; Working Title Films; Big Talk Productions, Film4 Productions.
Downloads
Published
How to Cite
Issue
Section
License
All the contents published in Revista Eviterna are subject to the Creative Commons Reconocimento-NoComercia-Compartirigual 4.0 license, the full text of which can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>
They may be copied, used, disseminated, transmitted and publicly exposed, provided that:
The authorship and original source of your publication (Journal, editorial and URL of the work) are cited.
They are not used for commercial purposes.
The existence and specifications of this use license are mentioned.
Copyright is of two kinds: moral rights and patrimonial rights. Moral rights are perpetual, inalienable, inalienable, inalienable, inalienable and imprescriptible prerogatives.
In accordance with copyright legislation, Revista Eviterna recognizes and respects the moral rights of the authors, as well as the ownership of the economic right, which will be transferred to the University of Malaga for dissemination in open access.
The economic rights refer to the benefits obtained by the use or disclosure of the works. Revista Eviterna is published in open access and is exclusively authorized to carry out or authorize by any means the use, distribution, disclosure, reproduction, adaptation, translation or transformation of the work.
It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
12.png)
