Understanding Nonlinear Narratives through Story Curves: An Analysis by Gérard Genette, Schemes and Mind Maps of Playwriting and Drama

Download Understanding Nonlinear Narratives through Story Curves: An Analysis by Gérard Genette and more Schemes and Mind Maps Playwriting and Drama in PDF only on Docsity! Visualizing Nonlinear Narratives with Story Curves Nam Wook Kim Benjamin Bach Hyejin Im Sasha Schriber Markus Gross Hanspeter Pfister Harvard Tufts Disney Disney Harvard Harvard / Edinburgh STORY NARRATIVE What ts told How it Is told > #1 #2 #3 #4 #5 Narrative Order Story Order Nonlinear narrative Telling events out of chronological order Eccl TIMELINE OF THE riers rin oye eri BE at at ee ce aed od i Re oli ee SU oem cg sidered correct. N TOLKIEN’S WORKS “44 ZLVES AWAKE PI) Dae Cel ce eaas TAA ered ore oe Es ees Naar t evr Teen?) SILVAN ELVES Ae ees eek, co Pe Roe ey How did Genette identify such basic nonlinear narrative patterns? Sometimes passing in front of the hotel he remembered the rainy days when he used to bring his nursemaid that far, on a pilgrimage. But he remembered them without the melancholy that he then thought he would surely some day savor on feeling that he no longer loved her. For this melancholy, projected in anticipation prior to the indifference that lay ahead, came from his love. And this love existed no more. “ p.38-40, Narrative Discourse: An Essay in Method, Gérard Genette, 1980 ” A Sometimes passing in front of the hotel he remembered B the rainy days when he used to bring his nursemaid that far, on a pilgrimage. C But he remembered them without D the melancholy that he then thought E he would surely some day savor on feeling that he no longer loved her. F For this melancholy, projected in anticipation G prior to the indifference that lay ahead, H came from his love. I And this love existed no more. A2 B1 C2 D1 E2 F1 G2 H1 I2 Present Past A2 B1 C2 D1 E2 F1 G2 H1 I2[ ] [ ( ]() ) Flashback Flashforward Close reading of a text passage does not scale beyond a few sequence. Events 1 Narrative Order 2 3 4 5 Story Order 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 A B C D E Events 1 Narrative Order 2 3 4 5 Story Order 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 A B C D E Events 1 Narrative Order 2 3 4 5 Story Order 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 A B C D E Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Story Order Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Narrative Order Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Segment = Character Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Band = Location Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Backdrop = Time of the day Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Jules’ story (Red) Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Flashforward Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Vincent’s story (Orange) Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Flashforward Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Butch’s story Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Flashback Thriller, Crime | October 1994 | Directed by Quentin Tarantino Pulp Fiction Jules’ story Nonlinearity: 0.63 Narrative order ~ Zigzag Nonlinearity: 0.21 Nerrative order m7 _ Jules’ story (con't) — f Bidirectional flashes ee, Beginning S \ Continued Flashtorward /” Staged flashforwards Middle Beginni a, Maes CY al / ginning in medias res Ending in medias r Middle l —— = Z (enn) Staged flashbacks Beginning 5 Rees. LY Butch’s story = Biniaoe aa Nonlinearity: 0.56 Narrative order - | Nonilnearlty: 0.03 Narrative order — Syllepsis rn] ' ry Follow-the-hero Beginning Groupings by characters ut ' — Beginning ~, Narrator (red) , b ne m { co” Ts, sa 7 og lt Dwverging lgzag ms eS or Middle =.) 1 ; Middle inning in medi iil gy ip ~~~ : 1 . Beginning inmediasres ©/' ot. , _ >> 5 Na ee Nonlinearity: 081 Narrative order Staged flashbacks Nonlinearity: 0.31. Nertive order ~ mf Chronological — f ‘im Beginnhhg 4 ‘ , iat é | Ending in medias res seqinn ing = } f \ Fiashbacks &Flashiorwarde——4— | * AR Y, / ATi hyo f f Follow-the-hero Middle J . = Narrator (red) Middle Bidirectlonal Flashes J 8 = “a 4 Staged flashbacks Nonlinearity; 0.39 Nattetive order ~ Nonlinearity: 0.55 Narrative or Staged flashforwards x — = Beginning (j Beginning ' Beginning In medias res " fo | tL a ' | Merging zigzag ”| Ph sai r Viddle | Middle Syllepsis By \ = Groupings by characlérs 5 arrati 5 a Noninearity: 0.92 Narrative order ~ Nonlinearity: 0.52 Narrative order + BZ I 1 Beginning = Pl Beginning Beginning In medias res =, Merging zigzag — a Continued flashforward \ \ Syllepsis Middle y : ' Groupings by cheraclérs Miccle Beginning in medias res End a > + Story order + Slory order y I « Story order Beginning Middle Beginning in medias res Narrative order > Beginning Middle End ¢- Story order Narrative order — Beginning Middle End ¢- Story order Narrative order — Merging Zigzag Beginning Middle ¢- Story order S Qa Narrative order > Beginning Middle ¢- Story order S Qa Narrative order > Eternal Sunshi ofthe spotless 1)! + Story order Beginning 49 Middle 98 20 40 60 80 100 120 Narrative order > 140 + Story order Beginning 49 Middle 98 20 40 60 80 100 120 Narrative order > 140 + Story order Beginning 49 Middle 98 20 40 60 80 100 120 Narrative order > 140 Annie Hall Readability study Can people read narrative patterns from story curves? Readability study 13 Participants • 8 female, 12 graduates • no expertise in visualization or narrative theory Q5. Among five basic patterns (Chronological, Retrograde, Flashback, Flashforward, Zigzag), how many of them do you seen in this story curve? Hint: Be careful and look at both overall patterns as well as sub-group patterns. One Two Three Four All Five Narrative order — 60 80 100 120 140 160 180 1 | | l Middle + Story order 80% 
 (16/20) Avg. Accuracy per participant “Putting the origin at the upper left corner was initially disorienting” - P3 - How did we build story curve Eternal Sunshine of the Spotless Mind (2003) by Charlie Kaufman. INT. PUBLISHING HOUSE RECEPTION AREA - DAY It's grand and modern. Random House-Knopf-Taschen is etched on the wall in large gold letters. An old woman enters carrying a tattered manuscript, maybe a thousand pages. She seems haunted, hollow-eyed, sickly. The young receptionist, dressed in a shiny, stretchy one-piece pantsuit, looks up. RECEPTIONIST Oh, hi. OLD WOMAN (apologetically) Hi, I was in the neighborhood and thought I'd see -- RECEPTIONIST I think he's in a conference. Unfortunately. I'm really sorry. OLD WOMAN Would you just try him? You never know. As long as I'm here. You never know. Eternal Sunshine of the Spotless Mind (2003) by Charlie Kaufman. Group1: Bold Group2: Regular •Scene Heading •Character Name •Action •Dialogue •Parenthetical Eternal Sunshine of the Spotless Mind - ON Oa fF wWDNY SF CO kkk ak ik a NO PWN FPO" INT. PUBLISHING HOUSE RECEPTION AREA - DAY It's grand and modern. Random House-Knopf-Taschen is etched on the wall in large gold letters. An old woman enters carrying a tattered manuscript, maybe a thousand pages. She seems haunted, hollow-eyed, sickly. The young receptionist, dressed ina shiny, stretchy one-piece pantsuit, looks up. Oh, hi. (apologetically) Hi, | was in the neighborhood and thought I'd see -- | think he's in a conference. Unfortunately. I'm really sorry. SLD WOMAN Would you just try him? You never know. As long as I'm here. You never know. agging Metadata Scene Heading Action Action Action Action Action Character Name Dialogue Character Name Parenthetical Dialogue Dialogue Character Name Dialogue Dialogue Character Name Dialogue <> <> <b dO Dialogue Scene • Length • Time of Day • Location • Interior/Exterior Movie Script Movie Info Still no information about the chronological order of scenes - STORY EXPLORER Pulp Fiction - Thriller, Crime | October1994 Directed by Quentin Tarantino Nonlinearity0.63 =| iMDB w € > Q QQ # @ Scene Length © RichView Characters ~ Narrative order > Beginning INT. COFFEE SHOP - MORNING INT. '74 CHEVY (MOVING) - MORNING INT. CHEVY (TRUNK) MORNING EXT. APARTMENT BUILDING COURTYARD - MORNING INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING INT. ELEVATOR - MORNING INT. APARTMENT BUILDING HALLWAY MORNING INT. APARTMENT (ROOM 49) - MORNING Se || ee eee i MEDIUM SHOT BUTCH COOLIDGE INT. CAR (MOVING) - DAY EXT. SALLY LEROY'S - DAY INT. SALLY LEROY'S - DAY INT. LANCE'S HOUSE (KITCHEN) - NIGHT INT. LANCE'S BEDROOM - NIGHT EXT. MARSELLUS WALLACE'S HOUSE NIGHT INT. MARCELLUS' HOUSE / LIVING ROOM - NIGHT Apartment Roo INT. MARCELLUS' HOUSE / DRESSING ROOM - NIGHT ime of Da Siory Metadata INT. MARCELLUS' H¢ Movie Script Pulp Fiction - Thriller, Crime | October1994 Directed by Quentin Tarantino Nonlinearity0.63 | iMDB| wv € > QQ # © Scene Length © RichView Characters + — r) Narrative order > Beginning "ee EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT Ce 4 7 8 Vincent Middle Well I'm of the opinion that Marselluscan live — his whole live and neverever hear of this —, r incident. + Story order m a | my v ma Characters by n © wis Jules Ey ee 2 eee Don't worry about it. If Marsellusever heard of Vincent a TE | (EL Es : = Ss | this, I'd be in asmuch trouble as you. Butch an es eee Ee Mia cccccccceeaamae ad a The Wolf = = Young Man J Lance = Ee oO Mia Fabienne — = What's yours? Location 1) ; Coffee Shop [= — B= i Vincent Motel Room Cd bi What are your thoughts on how tohandle this? Jackrabbit Sli... ee ’ Apartment Roo 8 Vincent Time of Day Mia! Morning 4 . Night £ Vincent 1! at'e ehala an it Pulp Fiction - Thriller, Crime | October1994 Directed by Quentin Tarantino =Nonlinearity0.63 | &i iMDB| w € > Q Q # @© Scene Length © RichView Characters ~ “ ry INT. '74 CHEVY (MOVING) - MORNING INT. CHEVY (TRUNK) MORNING Middle | a EXT. APARTMENT BUILDING COURTYARD - MORNING i, t INT. RECEPTION AREA (APARTMENT BUILDING) - * MORNING Narrative order > Beginning INT. COFFEE SHOP - MORNING + Story order m a a i INT. ELEVATOR - MORNING ‘a, : INT. APARTMENT BUILDING HALLWAY MORNING Characters () INT. APARTMENT (ROOM 49) - MORNING Jules ome ee 3 ieee Vincent 2 | ee a eS 0 MEDIUM SHOT BUTCH COOLIDGE Butch a: a =: ba . . INT. CAR (MOVING) - DAY The Wolf — EXT. SALLY LEROY'S - DAY Young Man [i Loree = oe INT. SALLY LEROY'S - DAY cabs abione — - INT. LANCE'S HOUSE (KITCHEN) - NIGHT Location —) INT. LANCE'S BEDROOM - NIGHT Coffee Shop mu ea Motel Room ae a EXT. MARSELLUS WALLACE'S HOUSE NIGHT Jackrabbit Sli... === Apartment Roo INT. MARCELLUS' HOUSE / LIVING ROOM - NIGHT Time of Day INT. MARCELLUS' HOUSE / DRESSING ROOM - NIGHT Morning INT. MARCELLUS' HOUSE / LIVING ROOM- NIGHT Night INT. MARCELLUS' HOUSE / DRESSING ROOM - NIGHT Pulp Fiction - Show all metadata on the story Thriller, Crime | October1994 Directed by Quentin Tarantir curve wc €¢ 7 Q Q #¥ © SceneLength | © ena Characters ~ “ee r INT. '74 CHEVY (MOVING) - MORNING aa INT. CHEVY (TRUNK) MORNING Middle | a EXT. APARTMENT BUILDING COURTYARD - MORNING —, t INT. RECEPTION AREA (APARTMENT BUILDING) - = MORNING Narrative order > Beginning INT. COFFEE SHOP - MORNING + Story order m a Qa i INT. ELEVATOR - MORNING =, < INT. APARTMENT BUILDING HALLWAY MORNING et INT. APARTMENT (ROOM 49) - MORNING Jules [rarerrrrrron] a ee Vincent S| a ee MEDIUM SHOT BUTCH COOLIDGE = = ; a INT. CAR (MOVING) - DAY Mia aT —s : ( )- The Wolf — EXT. SALLY LEROY'S - DAY Young Man J Lance om — INT. SALLY LEROY'S - DAY cabs abione — - INT. LANCE'S HOUSE (KITCHEN) - NIGHT Location () INT. LANCE'S BEDROOM - NIGHT Coffee Shop mum _—_—a Motel Room eee] a EXT. MARSELLUS WALLACE'S HOUSE NIGHT Jackrabbit Sli... ciaeaad Apartment Roo INT. MARCELLUS' HOUSE / LIVING ROOM - NIGHT Time of Day INT. MARCELLUS' HOUSE / DRESSING ROOM - NIGHT Morning INT. MARCELLUS' HOUSE / LIVING ROOM- NIGHT Night INT. MARCELLUS' HOUSE / DRESSING ROOM - NIGHT Participants • 3 Professional writers (W) • 1 Literary scholar (L) Procedure • Introduced Story Explorer • Presented narrative patterns discovered • Discussed potential use cases “The visuals look like musical notes. A literary work has also rhythm. It is fantastic to see the narrative structure in this way.” Writer#1 “Students often have a hard time writing a good narrative even if they have a good story. They especially don’t know how to use time well and often overuse flashbacks. This tool can visually teach how time is manipulated in a narrative” Writer#1 “The visuals look like musical notes. A literary work has also rhythm. It is fantastic to see the narrative structure in this way.” Writer#1 future work Extensions to Different Aspects of Nonlinear Temporality •Frequency: repetitive descriptions of a single story event •Duration: time taken to narrate a story event •Temporal paradoxes: time loops & parallel timelines Generalizations to Other Domains •Other genres: theater plays, novels, video games, etc future work Extensions to Different Aspects of Nonlinear Temporality •Frequency: repetitive descriptions of a single story event •Duration: time taken to narrate a story event •Temporal paradoxes: time loops & parallel timelines Generalizations to Other Domains •Other genres: theater plays, novels, video games, etc •Other data domains: 
 comparison of two orderings for the same set of elements 1. Rankings in sports analytics 2. Chromosome rearrangements in biology storycurve.namwkim.org @ | |» Story Curves x Al HA Abe At € C Q @ storycurve.namwkim.org QR Q Go to Story Explorer Best viewed on Desktop Pulp Fiction - ((&i ims} Gender Narrative order -* Mae, + Story order Characters Jules