The Impact of Non-linear Narrative Structures on Better Character Development in Animated-short Movies

Elahe Saberi
{"title":"The Impact of Non-linear Narrative Structures on Better Character Development in Animated-short Movies","authors":"Elahe Saberi","doi":"10.37390/avancacinema.2023.a505","DOIUrl":null,"url":null,"abstract":"Nonlinear narrative structures are infrequently used in animated short films and their benefits seems to be relatively neglected in comparison with cinema. Yet, the revolutionary potential of utilizing such structures in animated short films is endless. Nonlinear narratives provide techniques and tools which helps in better introduction and development of characters, resulting in in-depth emotional involvement of the audience. Such engagement is viable without the emphasis which classical structure puts on irrevocable principles such as linear timeline. This paper discusses the impact of nonlinear narrative structures in four animated short films, “The coin” (2019), “Negative Space” (2017), “Late afternoon” (2017), “The boy who saw the iceberg” (2000), which demonstrate a restructure of temporal factors. Each of these films is not only taking advantage of an exclusively tailored nonlinear structure using time distortion, they are also enforcing the impact they have on the way characters are delineated which could be inspired by other film-makers in animation. This paper discusses such innovative potentials in narrative structure of animated short films by relying on David Bordwell classical narration theories in “Narration in the fiction film” (1985), which are then diversified into nonchronological structures according to temporal feature of the narration. The present study argues that not only applying various nonlinear storytelling structures is possible in the context of animated short films, it also provides film-makers with measures and capabilities to achieve memorable and engaging characters.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"8 3","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"AVANCA | CINEMA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.37390/avancacinema.2023.a505","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

Nonlinear narrative structures are infrequently used in animated short films and their benefits seems to be relatively neglected in comparison with cinema. Yet, the revolutionary potential of utilizing such structures in animated short films is endless. Nonlinear narratives provide techniques and tools which helps in better introduction and development of characters, resulting in in-depth emotional involvement of the audience. Such engagement is viable without the emphasis which classical structure puts on irrevocable principles such as linear timeline. This paper discusses the impact of nonlinear narrative structures in four animated short films, “The coin” (2019), “Negative Space” (2017), “Late afternoon” (2017), “The boy who saw the iceberg” (2000), which demonstrate a restructure of temporal factors. Each of these films is not only taking advantage of an exclusively tailored nonlinear structure using time distortion, they are also enforcing the impact they have on the way characters are delineated which could be inspired by other film-makers in animation. This paper discusses such innovative potentials in narrative structure of animated short films by relying on David Bordwell classical narration theories in “Narration in the fiction film” (1985), which are then diversified into nonchronological structures according to temporal feature of the narration. The present study argues that not only applying various nonlinear storytelling structures is possible in the context of animated short films, it also provides film-makers with measures and capabilities to achieve memorable and engaging characters.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
非线性叙事结构对动画短片中更好地塑造角色的影响
非线性叙事结构在动画短片中很少使用,与电影相比,其优势似乎相对被忽视。然而,在动画短片中使用这种结构的革命性潜力是无穷的。非线性叙事提供了技术和工具,有助于更好地介绍和发展人物形象,从而使观众产生深入的情感投入。这种参与是可行的,而无需强调经典结构不可更改的原则,如线性时间轴。本文讨论了非线性叙事结构在四部动画短片《硬币》(2019)、《负空间》(2017)、《午后》(2017)、《看见冰山的男孩》(2000)中的影响,这四部短片展示了时间因素的重组。每部影片不仅利用时间扭曲专门定制了非线性结构,还强化了它们对人物刻画方式的影响,这可能会给其他动画电影制作者带来启发。本文以大卫-波德维尔(David Bordwell)在《虚构电影中的叙事》(1985 年)一书中提出的经典叙事理论为基础,探讨了动画短片叙事结构的创新潜力,并根据叙事的时间特征将其多样化为非时序结构。本研究认为,在动画短片中应用各种非线性叙事结构不仅是可能的,而且为电影制作者提供了实现令人难忘和引人入胜的角色的措施和能力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
自引率
0.00%
发文量
0
期刊最新文献
Western Myth A Representação da Palavra em Tabu: A Story of the South Seas Cinema e cotidiano: Passeios e diálogos estéticos Simulate This! Virtual Production and Cinematic Education with cineDESK Os Cenários Assombrados de Amorteamo (2015) no olhar da Semiótica da Cultura
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1