Between narrative and cognitive approaches : film theory of non-linearity applied to Hungarian movies
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Jyväskylä studies in humanities (e-julkaisut)Authors
Date
2008Access restrictions
Part of the work has restricted access. Therefore the material can be read only at the archival workstation at Jyväskylä University Library reserved for the use of archival materials.
The narrative game of film structure and manipulation of temporality has no
effect on the chronological flow of our everyday life, but it may enrich our
perceptual access, memory use, cognitive abilities, experience of reality, with
new dimensions. In the present thesis, I would like to survey the stakes of the
game situation of non-linearity with a narrative and cognitive starting point.
According to my hypothesis the mode of narration, and within this, “the
game situation of non-linearity with a narrative and cognitive starting point” is
connected to the meaning being formed by the recipient. To understand and
find these connections is the ambition of this present work. In conformity with
this, I would like to map the preconditions for the comprehension of nonlinearity.
I could not simply settle for this strategy naturally: taking the
theoretical by-pass of comprehending comprehension, I will analyse the
selected Hungarian films with the use of these findings as a feedback for the
concrete examples.
As I believe the by-passes of comprehending comprehension are not
useless digressions. The approach from the “use” provides a further point of
feedback for the original aims of interpretation of the given film. How and
mainly, for what can visual information be used? Through what effects do the
answers to these questions influence the strategies of the production side?
When watching a film, in what relation are the individual and universal mental
processes of reception with the formal-structural, for example, non-linear
editing features of the given film? The possible answers for these questions
cannot neglect practical viewpoints, as an approach from use favours contexts
of comprehension after all. The mode of approach contextualised, “made
practical” through use is cognitive psychology itself, realised through activity,
and recipient decisions. But “[w]hat is cognitive psychology? It is concerned
with the internal processes involved in making sense of the environment, and
deciding what action might be appropriate” (Eysenck and Keane, 2005, 1). To
project this logic to the field of this work, the statement regarding active
recipient role can be said in advance, according to which non-linear narrative
“is not a question of syntax, but a question of discourse, a way of telling
something. So, continuity is not a syntatic question, but a question of how you
choose what you have to say” (Valkola, 1993, 47).
...
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978-951-39-8039-9Keywords
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