I dream for a living.
       - Steven Spielberg

Narrative Cinema

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Narrative filmmaking refers to the types of movies that tell a story. These are the films most widely screened in theatres, broadcast on TV, streamed in the internet, and sold as DVDs and Blu-rays. Though fictional filmmaking is another term for narrative cinema, the word “fictional” doesn’t imply that such movies are purely based on fictive events. In some cases, veracity and creation blend together.

One of the storylines in James Cameron’s Titanic, for instance, pertains the steamship RMS Titanic that struck an iceberg in her maiden voyage and sunk soon afterwards – a real, greatly documented incident that happened on April 14, 1912. However, the romance between Rose and Jack, another prominent storyline in the movie, is a product of Cameron’s imagination, just like both characters.

The terms “fictional cinema” and “narrative cinema” carry the understanding that the filmmaker has the freedom to create storylines and alter historical facts as he or she sees fit. This freedom allows the director to shape the movie and perfect the story. One of the many reasons why Titanic broke a box office record was because the audience could identify with Jack and Rose and root for them.


The Classic Structure of Narrative Films

Fictional films are composed by a string of events and structured based on cause and effect. While the beginning of a movie and the introduction of certain characters are always arbitrary, the subsequent scenes, all the way to dénouement, must happen for a clear reason; an identifiable motivation that justifies character behavior, action, and goals. The occurrences in narrative cinema are never random; rather, they are always organized based on a main line of action and connected through theme.

In The Shawshank Redemption (1994), when Andy Dufresne (Tim Robbins) is convicted of a crime he didn’t commit and unfairly incarcerated (cause), he begins to plan his escape (effect).

In Tootsie (1981), when Michael Dorsey (Dustin Hoffman) is confronted by his agent who says that he will never find job in show business, Michael decides to dress up as woman and prove that he is a great actor worthy of major roles, regardless of his gender.

The structure of narrative cinema draws heavily on the 3-act structure and character arc of ancient Greek dramaturgy.

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