Explore the narrative constructed in Christopher Nolan's ..., Schemes and Mind Maps of Construction

Download Explore the narrative constructed in Christopher Nolan's ... and more Schemes and Mind Maps Construction in PDF only on Docsity! Explore the narrative constructed in Christopher Nolan's 'Inception' and 'The Prestige' Narrative can be defined in many different ways. For example, the term narrative has been dis- cussed and debated within media to great detail. One way narrative is defined is as “a chain of events in a cause-effect relationship occurring in time.” (Bordwell and Thompson, Film Art, 1980) For example, Lacey writes about how we commonly link to the idea of ‘stories’ and events (Lacey, 2000: p5). However, others have taken a more practical approach to defining narrative in media studies and looked at the different ‘narrative techniques to develop the story arc’. In some ways it can be seen as the way in which a story is told either in a specific style or way, however the char- acters within the narrative play just as an important part in telling the story. Another way the nar- rative can be defined is through plot structure, the theorist Todorov can be used as an example of defining narrative to have specific steps which tell the story. The main focus of my investigation will be Christopher Nolan films, specifically The Prestige and Inception. Within these films I will be trying to identify the common features or conventions shown in terms of narrative in Nolan’s films. One way in which Fulton et al (2005) defines narrative is in the terms of plot and story, whereby “plot is the wherewithal of narrative construction. It is the higher-order of art selection” and “whereby a basic story (or chain of events) is restructured to become interesting and compelling.” Plot and story is a key way in which we can see Christopher Nolan construct his films, he does this by first creating a simple story by which he can construct a plot that makes the film both intriguing and unique. An excellent example of this is another of Nolan’s film Memento, where Nolan constructs the plot to show the story backwards. Plot and story are key to constructing a narrative, “the distinction between story and plot is of paramount importance.” (Fulton. 52, 2005). This distinction of the story and plot allows the audience to separate what they are being shown (the story) and how it is shown to them (the plot), it allows the story to be told in many different ways. Firstly, one narrative technique that Nolan uses is the idea of frame narrative. Frame narrative is a technique used to show more than one story line. This is commonly described as a story within a story. This usually is to introduce a main narrative, at least in part for the purpose of setting the stage either for a more emphasized second story, or for a set of shorter stories. Frame narrative can be seen as a technique used frequently throughout Nolan’s films. The Prestige and Inception have a frame narratives as they both use more than one story line to create the film, the very first scene of each is actually the end of the film’s making the audience “wind up right in the middle of what’s going on” (dialogue taken from Inception); Inception starts with a scene that is near the end of the film, starting the narrative in the middle of film rather than the beginning, this technique is especially effective in Inception as the audience is introduced to the main character ‘Cobb’ as he washes up on a beach. The composition of the shot allows us to see how disorientated the character is allowing us to infer that there is a story behind how he got there. Through the use of this technique, Nolan engages his audience, using a non-linear narrative. The use of frame narrative is especially effective towards the ending of Nolan’s films and in some way could be seen as a stage in Todorov’s theory of the Four-Act structure, with the new equilibrium starting the films instead of the equilibrium that already exists. [Todorov explains that] …stories start with equilibrium, the created world of the film is set up and characters are introduced. This equilibrium is broken by some action, whether it is from another character or form, but we understand that something has changed. This disruption is recognised by the characters which bring in step four which is that the characters fight to repair what has gone wrong. Finally equilibrium is regained. Ladd (2014) Todorov’s theory explains the simple structure to narratives that are conventionally seen, however this narrative structure is usually applied by media theorists to discuss a linear narrative, which Nolan’s films do not have. Nonetheless, some of the stages in Todorov’s theory can be applied to Inception and The Prestige. Although both of Nolan’s films use a non- linear narrative and start with the ending of the story, while the films play out they contain aspects of a disruption and a resolution; in Inception this can be seen in when ‘Mol’, ‘Cobb’s’ wife, kills herself and is taken away from his children, the resolution to this is the dream sequence when he has to make sure the plan goes ahead so that he can return home, however, the ending of the film sees ‘Cobb’s’ totem spinning, this then cuts before the audience is shown whether the totem falls or not “Therefore it is possible that there is no reinstatement of the equilibrium.” (Rowe: 2012). Similarly, in The Prestige the disruption is caused by ‘Angier’s’ wife drowning, and the resolution is the rivalry between the two main protagonists as ‘Angier’ tries to beat ‘Alfred’ and get revenge over his wife’s death. However, rather than basing the whole film around this narrative structure, instead I would argue that Nolan uses this illusion of a familiar narrative to trick the audience. The elements of Todorov’s theory that are in Nolan’s work seem to create a simple structure for the films, this means that audiences will recognise some of the conventional patterns and structures to the film and make it easier to follow. However, as becomes clear, the narrative for Nolan’s films is much more complex and the familiar elements are in fact deceiving the audience for what actually follows. Lrowe suggests that although the Inception has a “... basic narrative the film itself is much more complex than this simple synopsis.” (Rowe, 2012) There are differences in terms of how this is constructed in Inception and The Prestige, and I will be analysing this further later in my investigation. Another common technique that Nolan uses to construct his narrative is cross-cutting story lines (parallel editing to show different story arcs that are occurring). The way Nolan uses cross-cutting story lines help to divert the audience’s attention away from narrative is the key to understanding the narrative, because of this it means that the audience is then surprised with the outcome of the film. This construction of narrative is often referred to as Enigma codes. Stam et al said that enigma codes help to “delay revelation, to dodge the moment of truth…delaying final disclosure until the ultimate moment” (cited in Lacey, 73, 2000). Enigma codes can be seen in The Prestige, the audience is shown to pay attention to the rivalry between the two protagonists and their battle against each other, this then leaves room for the ‘big reveal’ at the end showing the audience what has actually been taking place, making the film itself a trick. Christopher Nolan constructs his narratives in many different ways; however the main way in which he does this is through the use of frame narrative, because of the continued use of this technique it is easy to see this as a convention of his films rather than a technique he adopts. Through the clever use of cross cutting story lines Nolan has been able to achieve sophisticated stories that engage his audiences throughout and leave them surprised. His films not only have their own unique narrative structure but they also subvert Todorov’s theory of ‘Four-Act structure’ making them unpredictable allowing an in depth story to develop. Furthermore, it could be argued that Nolan’s narrative style is distinctly postmodern, it can be determined that Nolan very self- consciously and deliberately plays with film narrative conventions. Lacey (2000) identifies a key feature of postmodernism, which is the use of “fragmentations” and that postmodern texts “are not rooted in any particular time and space.” This can be seen throughout Nolan’s work when we consider his construction of the story and plot as well as aspects of the conventional non-linear narrative. Nolan self-consciously experiments with the rules of film to create surprising narratives for audiences, therefore in my own production I will reflect the conventional techniques that I have discussed and seen in his work, particularly from the construction of Inception and The Prestige. Bibliography Ladd, http://shaunladd.wordpress.com/theory/narrative-theory/, Narrative Theory Stam, Miller, Film and Theory An anthology, Blackwell, Massachusetts, 2000 Lacey, Narrative and Genre key concepts in media studies, Palgrave, Hampshire, 2000 Fulton, Thisman, Murphet, Dunn, Narrative and media, Cambridge, 2005 Lambie, http://www.denofgeek.com/movies/christopher-nolan/32803/how-interstellar- completes-nolans-personal-film-trilogy#ixzz3OcFF6OQD, How Interstellar completes Nolan’s personal film trilogy, 2014 Rowe, http://staceylrowe.wordpress.com/2012/06/27/textual-analysis-to-inception/, Textual analysis to Inception, 2012