: writing week 2 part 2
: writing week 2 part 2
Since part of sophisticated film writing and, subsequently, its analysis depend on the writer’s temporal manipulation, Bordwell and Thompson offer a way to discuss these manipulations by breaking story time into three components: order, duration, and frequency. (Understanding their distinctions presupposes understanding the difference between story and plot.) Discuss the distinctive aspects of these three divisions in Mildred Pierce, being sure to include your estimation of the overall story duration and overall plot duration. Also remember that some aspects may be manipulated more than others. (200 words)
What is the space of Mildred Pierce? How do you know? To what extent is this particular space crucial to the plot? Do you find that the plot leads you to infer locales you never see? (75-100 words)
The pattern of development in Mildred Pierce is an investigation, but not one conducted by the protagonist. Mildred has one goal, while the investigator has another; this is the plot conflict. What are these goals, and how do they conflict? Assuming that the climax is defined as the place where plot threads come together, where you “discover” or “witness” a significant change in the protagonist’s knowledge, where in the film does the climax come in the story? Where does it come in the plot? (150 words)
Discuss the range of narration in the film on a scale of restricted to unrestricted. As Bordwell and Thompson note, the range of information produces a hierarchy of knowledge. What is that hierarchy here? Finally, comment on the continuum between objectivity and subjectivity in the film. (150-200 words)
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The book is on my kindle account, using kindle and log in with username firstname.lastname@example.org, password is guanruiqi. The book is Film art: an Introduction.