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6 of 7 people found the following review helpful:
4.0 out of 5 stars
Narrative models applied to works in time.,
By frumiousb "frumiousb" (Amsterdam, the Netherlands) - See all my reviews (VINE VOICE) (TOP 500 REVIEWER)
This review is from: Coming to Terms: The Rhetoric of Narrative in Fiction and Film (Paperback)
Chatman walks the reader through different narrative models, looking for one which applies to both novels and cinema. He builds on the work of scholars such as Bordwell and Booth to reach his conclusions.
The book is broken into three rough sections. The first four chapters consider the relationship of narrative to other kinds of discourse. For instance, he explores how a text-type such as description fits into the narrative framework. The second section of the book addresses narrative formulations internal to either cinema or novels. I found this personally the most useful section. I particularly liked the distinction that he made between an unreliable narrator and a fallable filter. Finally, in the last chapter, Chatman moves towards synthesis and builds his conclusions by attempting to redefine the Booth notion of a rhetoric of fiction. I found as a reader that I was well-enough versed with film theory to follow most of the book. I have not read as completely in Narratology (rhetoric) as I should have to really get the most out of it. While I understand that he would rather have had people rent the films than print stills, it was a little frustrating to find references to long out-of-print advertisements and not be able to visualize what was meant. Chatman is a Emeritus Professor of Rhetoric at UC Berkeley.
3 of 3 people found the following review helpful:
4.0 out of 5 stars
point of view,
This review is from: Coming to Terms: The Rhetoric of Narrative in Fiction and Film (Paperback)
To me the most relevant contribution Chatman makes here is the differentiation of Genette's term focalization to differ between the narrator and the character. The narrator would give a 'slant', and the character a 'filter'.
He also reasons about how texttypes can be used 'in service' of each other, makes a defence of the concept of 'implied author' and goes more deeply into cinematic narration than he did in his last book. A good read.
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Key Phrases - Capitalized Phrases (CAPs):
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Rear Window, The French Lieutenant's Woman, Tom Jones, Joseph Andrews, Henry James, John Huston, The Killers, The Red Badge of Courage, Nick Adams, Stage Fright, Stepan Trofimovich, The Possessed, Wayne Booth, Christian Metz, Jane Austen, Lady Blessington, The Secret Room, Betty Flanders, Charles Smithson, Madame Bovary, Maria Gostrey, Michelangelo Antonioni, New York City, Ole Andreson, Ring Lardner New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Rear Window, The French Lieutenant's Woman, Tom Jones, Joseph Andrews, Henry James, John Huston, The Killers, The Red Badge of Courage, Nick Adams, Stage Fright, Stepan Trofimovich, The Possessed, Wayne Booth, Christian Metz, Jane Austen, Lady Blessington, The Secret Room, Betty Flanders, Charles Smithson, Madame Bovary, Maria Gostrey, Michelangelo Antonioni, New York City, Ole Andreson, Ring Lardner New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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80
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cite this book:
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- The Rhetoric of Fiction by Wayne C. Booth on 14 pages
- Narrative Discourse: An Essay in Method by Gerard Genette on 12 pages
- Narrative Discourse Revisited by Gerard Genette on 6 pages
- Story and Discourse: Narrative Structure in Fiction and Film by Seymour Benjamin Chatman on 6 pages
- Film Language: A Semiotics of the Cinema by Christian Metz on 4 pages
See all 100 books this book cites
- A Theory of Art by Karol Berger on 4 pages
- The Terministic Screen: Rhetorical Perspectives on Film by David Blakesley on 4 pages
- Conrad on Film by Gene M. Moore on 4 pages
- A Theory of Art by Karol Berger on 4 pages
- The Video Game Theory Reader by Mark J. P. Wolf on page 253, page 258, and Back Matter
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