RE Richard Cooper on narrative and violence in film. Parallel Narrative, specifically Multiple Protagonist/Antagonist Narrative Structure Richard might like to look at my new book, "Screenwriting Updated: :New and Conventional Ways of Writing for the Screen" ( currently available in Australia, to be published by Silman James in the US in a month). He might particularly like to look at my stuff on multiple protagonist/antagonist narrative structure plus other bits in the book. To explain, my book has a lot of material on the nuts and bolts of narrative structure in (mostly mainstream English language) film, including a large section on the mechanics of what I call "parallel narrative" structures. Parallel Narrative means multiple story films - Pulp Fiction, Shine, Go, Magnolia Run Lola Run etc - which I split into multiple protagonist/antagonist narrative (governing missions, quests and reunions The Big Chill, American Beauty, Saving Private Ryan, Galaxy Quest etc ), sequential narrative (one story after another - Pulp Fiction, Run Lola Run) tandem narrative (many equal stories running in parallel - Magnolia) and the whole family of Flashback Narrative forms (Flashback as Thwarted Dream - Shine, English Patient etc Flashback as Case History - Citizen Kane, The Usual Suspects etc) As I explain below, a lot of violent films are about gangs or groups, and these often obey patterns I've described as 'Multiple Protagonist/Antagonist structure. The interesting thing about these forms is that they all pivot on the three act structure. First things first. Violence in film affects narrative very powerfully in a number of ways. The simplest is that the plot has to stop until the fight/hunt/chase is over and it's clear who wins. Hence, in a film with lots of fights, you need less plot. This is why there is so little story in Crouching Tiger, Hidden Dragon. Because you have less time for plot and character per se, often the relationship subplot will have to occur on the 'battlefield", that is, where the violence is happening ( this is because you can't keep cutting away from the action to a relationship subplot happening elsewhere) True Lies actually shifts the relationship line into the battlefield by importing the wife into the battle. While actual violence stops the plot, the threat of violence energises and drives the narrative forward, because it provides rising jeopardy and plot steps, in other words, 'things for the protagonist to do to survive or escape punishment". So, what energises and propels is the characters' attempts to AVOID violence or punishment. The threat of violence is a major reason why Pulp Fiction holds. Pulp Fiction consists of a number of three act stories all energised by the threat of violence and held together, portmanteau style, by Jules' story, itself a story of redemption triggered by violence. In my book I show how all the major turning points in Jules classic three act structure story (all violence related) are used as points of departure and return. There's lots more in the book about the practical mechanics of Pulp Fiction - that is, the narrative reasons it holds when it apparently breaks all the rules of narrative. Like all successful parallel narrative films, it simply relies on the major dramatic turning points of a three act structure. Another narrative issue is that monster stories (violent stories often are) can't start until the hunter takes up the challenge and the hunt starts. Note that many films that use violence a lot are what I call 'multiple protagonist/antagonist narrative' because they deal with a group who are all versions of the same protagonist (eg all different versions of 'a gangster' 'a solder' etc). These films are often missions or sieges (multiple protagonist films are usually sieges, missions or reunions). Successful multiple protagonist films have what I call a ' group macro plot' - in essence, a group problem that usually concerns the survival of the group.The big issue is that the group is under threat and will it survive. Often this is a physical survival issue. The macro needs to be set up straightaway or the film will splinter into aimless vignettes - Peter's Friends is a multiple protagonist story that doesn't work because the group problem (one member has AIDS) isn't set up straight away (cf The Big Chill, where the group problem - a suicide - is set up in under a minute). Multiple protagonist/antagonist structures need conflict internal to the group, and usually feature a range of characters like 'the traitor within' ' the outsider' and 'the dominant character' - the latter being the one who gets the group into the problem in the first place. Such characters help to energise the narrative because sieges are often physically static (note, the siege itself actually starts at the First Act Turning Point, and the Escape replaces the third act 'battle' in standard three act rising structure). Missions need conflict within the group because most of the time the group is waiting for the external antagonist (the baddies, the foe) to strike (the threat of violence) and without internal conflict the group's deeds would get boring. You can see all these elements in Crouching Tiger, Hidden Dragon No more time! Richard can contact me if he wants (hallo Richard!), as indeed, can anyone else interested in parallel narrative in film, or film narrative generally. My book is currently available in Australia under the title of "Scriptwriting Updated:New and Conventional Ways of Writing for the Screen" not 'Screenwriting Updated' as the US edition will be Full details of Australian edition Linda Aronson "Scriptwriting Updated:New and Conventional Ways of Writing for the Screen" (Australian Film TV and Radio School/ Allen and Unwin 2000 ISBN 1 87635 103 9. To buy, email [log in to unmask] You can buy on visa or by cheque. Dopey questions from an internet illiterate . How do I get messages posted directly on the board to all members of the group? Do I email you? Can you post this message on the list for ? All best, LInda Aronson Free lance screenwriters and novelist. Associate Australian Film TV and Radio School (AFTRS) Sydney. ----- Original Message ----- From: Donald Larsson <[log in to unmask]> To: Narrative <[log in to unmask]>; screen-l <[log in to unmask]> Sent: Tuesday, March 13, 2001 4:46 AM Subject: Re: narrative and violence <fwd> > The following request is forwarded from a grad student in the UK: > > > > At the moment i'm writing a paper, for > > my degree, on how violence is used within film to develop narrative. > > Are there any texts or authors who you think may be able to help > > me as i'm finding it difficult to find research on this specific area. > > Any help you could give me would mcuch appreciated. > > Richard Cooper > > You can respond directly to Richard Cooper at: > [log in to unmask] > > I will also forward replies sent to me or the list. Thanks. > > Don Larsson > ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu