Research Paper on Story Movement

Introduction

The structure of narrative is being recognized as the foundation through which the stories are being built in developing human cinematic literacy. In story movement of the classical narrative, there are must three structure which needs to be observed. The first structure is called beginning or the exposition. The beginning of the story within the film should be designed in a way that it draws attention of the audience. The next structure is called the middle or the conflict. The middle structure in the story movement is extracted or obtained from the preceding happenings at the beginning of the story. The last structure in the story movement is known as end structure or resolution. This structure within story movement is developed through analysing both exposition and conflict to come up with a complete and comprehensive resolution. In story movement of a film, there are those dynamics or intensity which occur at varied stages of the story (Elmes, Michael, and David 39 - 62). In this context, the term intensity is being used in referring to degree of anxiety which is being felt by the audience who are following the story. The analysis has shown that in story movement, intensity of story is usually low at the start and increases as the story moves towards the middle structure and finally reaches the climax when the story achieves resolution. The above explanation is being represented by the figure below.

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In story movement that will be presented as a film, there are those aesthetic aspects which makes the audience to be completely part of the film. This characteristic of a film is very important since it enables the audience to experience the similar emotion which are being enacted on the screen (Gendolla, Peter, and Jorgen Schafer, 16). In addition to that, there is better expression of the real situation of the story which enables the audience to follow with ease how the story is being developed.

The aspect of story following is being framed through observing the selected aesthetic characteristics. These aesthetic characteristics includes light , the colour , the objects , sounds, the movements and finally the shot editing and sectioning of the film. In framing the above mentioned characteristics, application of the principle of media must be incorporated for both aural and visual perception of the film. One of the typical example of aesthetic characteristic is that of adjusting colour. When the colour of high contrast is being used, it attracts eyes of the viewers which usually indicates the points of being emotional as well as the climaxes within the story. The aesthetic features within the film has a lot of significance towards adding the flavour as well as enhancing deeper and inner perception of the film (Grethlein). This is because they are capable of providing expressive elements which in one way or the other manipulates perception of people in translating the ideas into important messages in a very efficient and effective way. As a matter of fact, film production is an artistic work and it involves a lot of literature. The analysis has shown that when dealing with literature, one needs to have high level of systematic organisation for it to make meaning. If the organisation part of it is not observed, any literature work will be boring and it will lose its meaning of passing the message to the targeted audience.

Aesthetics and Screen Direction

Aesthetic and screen directions comprises of the crucial aspects towards developing a film of high quality. The following are some of the major aesthetic features which are used to make the film appealing.

Light - It has the responsibility of manipulating the perception of environment and also informs how the audience will feel in relation to a certain event presented in a film. To structure this aesthetic feature, the lighting instruments are mostly used mainly for controlling shadows. There are different forms of light regulation within the film. One method which is mostly used is known as the light falloff. This is the technique of immediate switching of contrast depending on the emotions displayed on the screen. In addition to that, there is also aspect of classing both foreground and background of the objects within the movie (Scolari, 21). After classification of either foreground or background there is idea of calculate light fall of value. To compute this value of fall off, one has first to obtain the luminance contrast in the boundary of the object linearly. This is because at the edge of the object, highest contrast is achieved and the averaging is being done to achieve the require value of switching from one zone of contrast to the other.

The sound - The sound supplements the visual influence of the event being presented on the screen. There those nonliteral sounds commonly classified as the background information usually provides additional energy to the scene which hastens developing of the required mood. However, the semantic meaning as well as the energy intensity of literate sounds is not easy to quantify and that why the focus is being put on non-literate sounds. The computation of loudness or volume of the sound within a film is done through approximating the root mean square value of magnitude of signal in sound framing.

The colour - Colour contributes a lot in making the audience feel author's content which intended message is. The colours is usually translated into energies which is being called in other words as the dynamics. The energy assigned to each colour shows the aesthetic impact in relation to audience. Some of the colours are usually presented to display high energy which in most cases excites the audience while others which seems to have low- energy level calms the audience (Whitelaw, 287). This concludes that in story movement, it is important to use the colours harmonically i.e. high - energy colour should be accompanied by the high energy colours while low - energy events should be characterized by low - energy colours.

The Rhythm - This is being defined as the speed perception or the calculated felt time for a certain event to occur. Atypical example is when the movement of an actor within the film produces a visual rhythm which might be long or short depending on the time taken to walk throughout the scene (Sawhney, Nitin, David, and Smith). In most cases, the rhythm serves as the psychological guidance of the audience involved in the film. Further analysis shows that faster or higher rhythm indicates the excitement scene in the film while slower or lower rhythm may indicate the sign of calmness.

Movement - The movement is from one corner of the screen to the other .i.e. from left to right and up to down. These movements usually affects the emotional responsiveness and impressions of the viewers. At the moment when any human being is watching any film, the emotions and reactions are greatly influenced by the way movement are presented in that film. For example, the larger the movement from one section of the screen to the other, the greater the visual intensity in comparison to the small movement. The movement is being categorized into two types that is object moving in front of camera or the camera moving itself though these movements serves the same purpose.

Conclusion

From the above discussion, it can be seen that film effectiveness is being composed in two stages. The first stage is that of developing the complete story without additives. This developed story is presented in different forms to the audience. For example, if this story is written in the book, it might be called a novel or a play. On the other hand, if it is presented on the screen it is being called a film. The difference between the two is that in a book, the additives feature are usually imagined but in the film, all additives are either visualized or heard. The second stage is that of the Aesthetic Filed extraction which focusses on how additives in the film is being used to make it more appealing.

As it was being explained in the section of aesthetic features and their functions in a film, it is also necessary to note that expressive elements are captured. If these expressive elements are integrated well in the film the intended message is got well (Elmes, Michael, and David 39 - 62). On other hand, if expressive elements are not included well the message may not be clear and the film is rated as the low quality. Finally, there is evaluating of the contribution of all the aesthetic features within the film. They should contribute at equal phases through balancing them in order to make the film presentable.

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