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1

THE UNRELIABLE NARRATOR IN FEATURE FILM (Narrator niewiarygodny w filmie fabularnym)

100%
Ostaszewski J.
Kwartalnik Filmowy
|
2010
|
issue 71-72
6-74
EN
The author presents the function of an unreliable narrator in feature films, in the context of the definition proposed by Wayne C. Booth (in The Rhetoric of Fiction, 1961). Booth considers the constitutive characteristic of the unreliable narrator in literature to be the distance that gradually opens between the author and the narrator. The gradual loss of trust towards the storyteller invites the reader to evaluate his attitude. When the narrator turns out to be completely untrustworthy, the entire effect of the text is transformed. Ostaszewski lists a number of films that feature unreliable narrators, and shows different versions of this type of narration. Irony turns out to be the key element in understanding untrustworthiness in contemporary film. Identifying the unreliable narrator is a means through which one can integrate events present in the film into a coherent and logical construction.
2

PARAMETRIC NARRATION (Narracja parametryczna)

100%
Bordwell D.
Kwartalnik Filmowy
|
2010
|
issue 71-72
6-45
EN
A selected chapter from David Bordwell's book Narration in the Fiction Film (Madison 1985). Bordwell argues that parametric narration is not connected to any specific national film school, historical period or film genre. Rather it appears to lack historical specificity, that is typical for, for example, classic narration or narration found in art cinema. In parametric narration the film's stylistic system creates patterns distinct from the demands of the syuzhet. The style of a film can be shaped in such a way, that it appears to be as important as the structure of the storyline. Bordwell provides a detailed characteristic of various aspects of parametric narration, he refers to the theory of Russian formalists, structuralism and analogy with serial music. To present the principles of this kind of narration, the author presents an analysis of Robert Bresson's Pickpocket (1959). Bordwell points out that one of the advantages of the analysis of parametric form, is that it helps to reveal the formal causes of the aura of mystery and transcendence, which audiences often associate with Bresson's work.
3

RICK ALTMAN'S THEORY OF NARRATIVE (Teoria opowiadania Ricka Altmana)

100%
Helman A.
Kwartalnik Filmowy
|
2010
|
issue 71-72
46-59
EN
Helman presents Rick Altman's theory presented in his recent book Theory of Narrative (2008). Altman, a professor from the University of Iowa, is known as a theoretician of the genre, but his newest research places him within the scope of theories of narration. Altman's theory of narrative moves towards the universal, as he is interested in narration in art in general. Rather than considering the differences between literary and film narratives, he points out the similarities. Altman highlights the exceptional, cultural significance of narratives and the omnipresent practice of storytelling. He maintains that this is the result of storytelling being open to different forms. Helman presents the main idea of the book, namely that narrative is independent from the medium. Helman presents the most important elements of Altman's theory, and she concludes, that the theory is engaging, because one is immediately tempted to apply it in analysis.
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