1. Narration in FilmsNarration in Films
Film Principles
Bong S. Eliab
Ateneo de Davao University

2. Narration
 Plot: distribution of story
information to the viewer.
 At any point in a given
narrative, we can ask
ourselves how much we
know (as viewers) in
relation to the characters on
screen.
 This relationship can be
represented as a hierarchy
of knowledge and there are
a few important terms we
use to express these
relationships.
Swimming Pool

3. Range of Narration
1. Unrestricted
Narration
2. Restricted Narration
Francois Ozon’s Swimming Pool

4. Unrestricted Narration
 When the viewer
knows more than
any or all of the
characters.
 Highly unrestricted
narration is called
omniscient.
Swimming Pool

5. Restricted Narration
 When the viewer
knows only as much
as a single
character (usually
the protagonist).
 Example: Malena,
The Road HomeMalena

6. Depth of Narration
1. Objective Narration
2. Perceptual
Subjectivity
Narration
3. Mental Subjectivity
Narration
Swimming Pool

7. Objective Narration
 Viewer’s knowledge is
restricted to the external
behavior of the
characters.
 Highly objective narration
(in certain forms of
documentary, or in the
films of Jim Jarmusch, for
example) is known as
"fly-on-the-wall."
Lawrence of Arabia

8. Perceptual Subjectivity
Narration
 Viewer has access to
the visual and aural
perspective of the
character through the
"point-of-view (POV)
shot.
Dreamers
Directed by Bernardo Bertolucci

9. Mental Subjectivity Narration
The viewer is plunged into the
character’s mind and
consciousness
Viewer has access to inner-
thoughts (through voice-over
narration), dreams, fantasies,
visions.
Use of flashback scenes
Swimming Pool
Ludivine Sagnier with
Director Francois Ozon

10. Motif
 Any significant,
repeated in a film
 Visual or aural
motif
 Plays significant
role in the narrative
or stylistic system
Note the hairclip on
The Road Home

11. Motif
 Common visual motif
 Aural motif: recurring
melody, a line of
dialogue
 Others: a distinctive
camera movement, a
prop, a lighting
technique, or an
abstract theme of idea

12. Motif
 Common visual motif
 Aural motif: recurring
melody, a line of
dialogue
 Others: a distinctive
camera movement, a
prop, a lighting
technique, or an
abstract theme of idea

13. Motif serves important functions
 Unity: helps unify film by
establishing central issues
and images to which the film
returns again and again.
 Allows viewers recall
previous moments in the
film when that image or idea
appeared
 Allows filmmaker to help
audience identify narrative
patterns, connections
between characters, events
and ideas

14. Motif serves important functions
 Aesthetic Coherence:
provides coherence to
film’s visual style (its
look and texture)
 Suggests thematic
meanings
Julio Medem used high key exposures
(increased brightness) for Sex and Lucia