Exam 4: Elements of Narrative

A) We enter the thoughts of the protagonist as she relates to the audience in voice-over what she is truly feeling.
B) We are addressed by the protagonist when he makes an aside to the camera after a particularly embarrassing moment.
C) We are addressed by an omniscient yet unseen voice who explains to the audience the various motivations of multiple characters.
D) We are addressed by the filmmaker herself as she provides a warning to sensitive viewers before the movie story proper begins.
E) We are addressed by several characters over the course of a highly unusual narrative.

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A) a rival to the protagonist
B) an unsympathetic character in pursuit of a less-than-noble goal
C) a round hero possessing potentially fatal flaws
D) a hero who resorts to violence in pursuit of his or her goal
E) a flat hero who does not possess the nuances audiences expect in a richly compelling main character

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A) that the filmmakers have made a continuity error
B) that the element is relatively insignificant because it is overemphasized
C) that the element is relatively important because it is part of a pattern
D) that the element can be removed from the film and made an object of study on its own
E) that the element is one of the director's "trademarks" placed in the narrative for only die-hard fans

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A) Restricted and omniscient narration cannot be used within the same film.
B) Restricted and omniscient narration can be used within the same film depending on the needs of the story.
C) Restricted and omniscient narration can be used within the same film, but only along with a third-person voice-over narrator.
D) Restricted and omniscient narration can be used within the same film, but only along with a first-person voice-over narrator.
E) Restricted and omniscient narration can be used within the same film, but only if there is no voice-over narrator.

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B

A) An aspiring actor asks a man on the street for the time as he rushes to get to rehearsal for which he might be late.
B) A hermit receives an e-mail from a former friend that forces him to choose whether to see the other.
C) A boxer is asked to throw a fight: This is against his principles, but it will allow him a shot at the heavyweight championship bout.
D) A captain in the army is ordered to demote a soldier he knows is actually being treated unfairly.
E) A writer catches her best friend cheating on her husband, who is also the writer's friend.

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A) It demanded that they care for unsympathetic characters.
B) Its distinction between past, present, and future events was highly ambiguous.
C) It asked the audience to fill in plot details and order the story out of an elliptical narrative.
D) It covered too much historical time for an audience to properly process.
E) It never explicitly stated when the events in the story took place.

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A) the camera
B) the protagonist
C) the director
D) the screenwriter
E) the omniscient, third-person storyteller

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A) Great Expectations
B) The Social Network
C) 127 Hours
D) Pulp Fiction
E) Gladiator

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A) Story contains only the present events of the film; plot contains past and future events.
B) Story contains only explicitly presented information; plot contains explicit and implicit information.
C) Story contains no diegetic elements; plot contains only diegetic elements.
D) Story contains the explicit and implicit events of the film; plot contains the explicit events in a specifically selected arrangement.
E) There is no difference.

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Possible example: A film noir in which a fallen high-stakes gambler recounts his life presents his remembrances in nonchronological order. The remembrances consist of story elements that allow the audience to understand the character, but they are structured by the plot to evoke the associative properties of memory.

A) restricted narration.
B) third-person narration.
C) omniscient narration.
D) first-person narration.
E) Hitchcockian narration.

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A) the story
B) who or what tells the story
C) fiction films
D) the act of telling the story
E) a cinematic structure in which the filmmakers have selected and arranged events in a cause-and-effect sequence occurring over time

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A) The film's story is told entirely from the point of view of a protagonist who is losing touch with reality.
B) The film's story is narrated by a sarcastic third-person narrator.
C) The film's story is continually shown from dual perspectives: the protagonist's and that of the people who think she is insane.
D) The film's story is told in a highly stylized and heavily frenetic fashion.
E) The film's story is told in nonchronological order.

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A) that the movie becomes more profound and complex
B) that the movie provokes its audience to accept controversial political doctrines
C) that as the movie progresses the protagonist confronts greater risks
D) that as the movie progresses the protagonist becomes more significant
E) that as the movie progresses the antagonist gains in strength over the protagonist

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C

A) other movie genres, like horror and the musical.
B) other movie techniques, like chiaroscuro lighting.
C) other movie modes, like documentary or experimental.
D) other movie terms, like mise-en-scène.
E) other movie eras, like the silent era.

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A) the exposition of a movie
B) the first draft of a movie
C) a fictional history behind the situation existing at the start of the main story
D) the presentation of events in reverse chronological order
E) the experiences or events that spin the action in a new direction in a movie

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A) chronological
B) nonchronological
C) both chronological and nonchronological
D) obscure
E) unknown

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A) to provide comic relief
B) to question the morality of the protagonist
C) to move the story forward or flesh out the motivations of the protagonist
D) to narrate the story
E) to frustrate the protagonist's quest

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