The Narration Of Film Narration And The Structure Of Its Inner Elements

Films developed gradually from recording "realism"(Auguste Marie Louis Nich olas, 1862-1954; Louis Jean, 1864-1948) to showing story using specific way(D.W.Griffith). When Griffith added the montage technique in 1908, the films began to have its unique rhetoric. With the rhetoric improving, the fragmentation and fracture of nar ration got strengthened, the obscurity and uncertainty of story were been enforced, wh ich thoroughly increased people’s interest to the story. The story is different, and the way to narrated is different.One argument holds the point that films’ narration should have specific plot,which means only plot makes story. Abram defines plot as “the structure of changing the story in drama and narrative movies”, that is to say, such causality is the key to narrative films. The other point claims that films don’t require too much emphasis on plot and clearly relationship and behavior on characters, and make more complicated and non-plot scenes. This is quite different with plot narration(linear narration),mainly focus on artistic conception instead of story(non-linear narration).This thesis is mainly about discussing the most common narrative methods in story constructing(the classical narrative films with Hollywood background and the Non-linear narrative films with artistic conception). Both modes provide basic fundamental to Circumstances’ s overall creation, and also a introspection to artistic films and pure commercial films. The last chapter mainly discusses the difficulties encountered, the approaches and the experience when creating the film script.