Cinema: Formalism Theory and Film Narrative مقالة

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For this reason, Roland Barthes expanded the formalist view in this field and provided a specific term for characterization, which was the "trait" (or sign)7 meaning "single characteristic. 8 Formalists also speak in a similar way about the "transfer of motifs" among characters, but Barthes claims that several characters can share common "traits," this idea endows our character with a specific meaning or definition. This idea is in continuity with the formalist view of narrative as a closed structure that, in some way, returns to and confronts its other end, the nature of which determines how this determines. Despite the ideas that formalists had regarding staircase structure and patterns of beginning and end, it seems they never formulated the principles that actually drive the narrative forward. A unified set of actions or events forms a line or a noematic chain, but at the same time, it poses a mystery that is usually solved and clarified at the end. But if the narrative structure is to function in the way described above—that is, as an interaction of noematic and hermeneutic lines that work through a series of delays toward a response/solution—then what is it that sets the narrative in motion at the beginning, and what limits its possibilities? 17 This narrative conflict, as Heath refers to it in connection with that explosion, which the first shot of the film brings the work of Orson Welles18 to an end, is a real and true (not virtual) intensity and violence.