Narrative Structures

Linear

        A linear narrative structure is when the events that occur in the film are in chronological order without anything to break the film up (A to B or B to A). Many films have a linear narrative structure, because it's a simple structure to follow. For example, 'Finding Nemo' has a linear narrative structure, because it goes from beginning to end without any disruptions. The very beginning of the film acts as a prologue to inform the audience of the situation before the actual story starts and so doesn't disrupt the film. Another film that has a linear storyline is 'Taken', as the events happen chronologically. I could apply this narrative to my own filmmaking by keeping the storyline fluid. I'd be able to use flashbacks/ flash-forwards as long as there is clear beginning and end to my film. The advantages of using this narrative are that all audiences can understand the film. However, this narrative can be somewhat limiting, as more developed filmmakers prefer to mix things up to make an interesting narrative and storyline.

Non-linear

        A non-linear narrative is when the events that occur in the film are not in chronological order (D to B to A to C). More adventurous filmmakers prefer to use a non-linear narrative to force the audience to work out what's what. For example, the director of 'Memento' uses the idea of memory loss to produce a non-linear film. The film is fairly subjective so the audience only sees what the main character remembers, which breaks the narrative up. It also means that the film would be confusing for some people, so this narrative structure wouldn't appeal to all ages. Personally, I like having to figure out what's happening in a film, as long as it's doable, so I enjoy films with non-linear narratives. I'd love to be able to use a non-linear narrative in my filmmaking to make people think about what's going on. However, I would have to have an appropriate storyline to go with the narrative (e.g. memory loss would give me a valid reason to break up the film). Another film that uses a non-linear narrative is 'Limitless', which begins towards the end of the film and then snaps back to where it should begin. I think this happens so that the audience know what to expect from the character's situation so that they aren't confused, but without revealing the ending.

Flashback/Flash-forward

        A flashback/ flash-forward is when a character thinks backwards or forwards to another event that's crucial to the film. This could be through a dream or thought track. For example, in 'Harry Potter and the Goblet of Fire' Harry has a dream that Voldemort is preparing to be resurrected in a grave yard. Said grave yard is later discovered towards the end of the film and it turns out that his vision was true. The flash-forward was used to foreshadow Voldemort's resurrection and to give the audience something to be worried about. Similarly, in 'Avatar' the main character has a flashback to when his brother died and he took his place in the "Avatar program". This gives the audience a grasp of his purpose on Pandora. Without it, the audience would be left questioning how he ended up there in the first place. If I were to use either of these in my own filmmaking I would be sure to make it clear that the event is either in the past or future as to not confuse the audience. I could do this with a white flash at the beginning and end of the scene, or by giving the shots in the scene a different colour filter.

Realist

        A realist narrative pertains to our reality. There aren't any aliens or vampires etc. and none of the character's have special powers. There are many realist films in the industry, such as 'Valentine's Day', which focuses on a group of peoples' perception of Valentine's day. Each character's story is realistic and could actually happen in real life. Similarly, 'The Inbetweeners' has a realistic narrative as it focuses on a boys' holiday. I imagine that a group of boys in real life would do the same or similar things if they went on holiday abroad. It would be fairly easy for me to retain a realist narrative in my filmmaking, because I could film in college with students as actors which in itself would be realist.

Anti-Realist

        In contrast, an anti-realist narrative could include superheroes or werewolves and so on. There are a lot of films with an anti-realist narrative, because as a society we like to escape our regular lives by watching something completely bizarre. An example of an anti-realist film is 'About Time'. When it starts it appears to be a realist film about a man falling in love and starting a family, but the twist is that he has the power to travel in time and change events in his life. He uses this power to find love. This combination of realist and anti-realist is very effective, as it allows the audience to identify with the characters as they are similar to themselves, but it also allows for escapism (because of the time travel). Another anti-realist film is 'The Dark Knight', because it's set in a location that doesn't exist and it contains superheroes and villains and expensive gadgets that don't exist. This film is completely anti-realist, which is why it's a perfect film to watch if you want to escape from your regular life. An anti-realist narrative would be much harder for me to include in my filmmaking, because it would require extravagant props or costumes or some form of special fx to show the audience that the film's reality is quite different from theirs.

Endings

        Films can either have an opening or closed ending. A film with an open ending often leaves the audience questioning what happens after the credits roll. It's a good way to prepare with a sequel, as the film is left at a cliff hanger. A notable example of this is 'The Hobbit: Desolation of Smaug', as Bilbo says something along the lines of "what have we done?" and then the screen goes black. The audience doesn't know what's going to happen next and it's clear that the narrative will continue in another film. However, some films that have open endings don't lead onto a sequel. For example, the film 'Salt' ends with Salt running into the distance as the FBI searches for her. We don't know if she was caught or if she managed to escape and we will never find out for definite, so we're left to make up our own minds. I'd use this ending in one of my own films to give the audience the power to make up their own mind about what happened to certain characters. To do this I'd simply cut the clip just shy of the completed action (e.g. if a character was opening a door to see what's inside, I'd cut the clip just before the door opens so that the audience can decide what's there).

        A closed ending is when the narrative the film has a definite end (usually by restoring equilibrium). A good example of this is the film 'Mulan', as the main character restores equilibrium by saving China. The original quest of the character has been completed, which is how we know for sure that the narrative is closed. This is also proof that just because a film has a closed ending doesn't mean that it can't have a sequel. Another film with a closed ending is 'Friends With Benefits'. This film results in the man and women resolving their differences and falling in love. There is nothing else to be done within the narrative, therefore the end is clear. This film doesn't have a sequel, however (which I think is because there are no "side quests" that can be derived from the original quest.