Subjective Narration

Edward Branigan, as paraphrased by Margrethe Bruun Vaage in the "Point of View" reading, introduces a concept known as subjective narration to describe our connection with the point of view of a character in a film.

Subjective narration is the basic element of Point of View structure and is described as being "attributed to a character in the narrative and received by (the viewer) as if (they) were in the situation of a character."  Point of View in cinema can be conveyed through visual language, like movement in the frame or mis-en-scene techniques, which serve as metaphors for a character's mental condition. 

 

Consider how Agnes Varda frames the main character in Cleo from 5 to 7 against a black wall and uses mise-en-scene techniques to isolate the character in the frame during this scene. From film-grab Links to an external site.. 

 

Over the past few weeks, particularly in our module on voice and language, we've learned that editing techniques can communicate messages similar to a language-system and amplify meaning. Branigan connects this theory to point of view structure by describing four juxtapositions of shots that signify a character's awareness and convey a specific emotion. Each shot includes a juxtaposition of shot A (of a character) and Shot B (of a point-of-view shot). The shots are called Prescriptive, Retrospective, Closed and Delayed. Let's take a look at the shots through some examples below. 

Prescriptive features an A followed by B relationship that defines what the character is looking at. 

Stills from Persona (1966) and The Night of the Hunter (1955) from Film-grab.com Links to an external site.

 

Retrospective follows B with A to suggest a more meditative relationship to the subject. 

 

Closed (A,B,A) narrows the perspective of the character. 

 

Finally, Delayed (A.......B) uses an extended take to prolong the reveal of the shot that follows. 

 

Editing transitions can also denote memory through the use of a dissolve. Also, repeating shot A after a flashback emphasizes the character's memory as origin of what the viewer has seen on screen. 

 

Continue on to understand subjective narration's relationship to cognitive film theory and alignment --->