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Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail

If a comparison is to be made between the anti-classical and the classical narrative, which one is the fairest' of all? Each form has its own distinct features and their sheer existence is due to the upheaval point of views about film as cultural identity among film scholars in the early twenti...

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Main Author: Ismail, Norlela
Format: Article
Language:English
Published: UPENA 2007
Subjects:
Motion pictures
Online Access:http://ir.uitm.edu.my/id/eprint/11612/1/AJ_NORLELA%20ISMAIL%20JSM%2007%201.pdf
http://ir.uitm.edu.my/id/eprint/11612/
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spelling my.uitm.ir.116122016-06-07T08:17:04Z http://ir.uitm.edu.my/id/eprint/11612/ Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail Ismail, Norlela Motion pictures If a comparison is to be made between the anti-classical and the classical narrative, which one is the fairest' of all? Each form has its own distinct features and their sheer existence is due to the upheaval point of views about film as cultural identity among film scholars in the early twentieth century. Most European films are believed to have employed the anti-classical narrative whilst mainstream films or referred to as Hollywood films favour the classical narrative. The purpose of this article is to identify the types of film narrative form of European art films. Two films are used as case studies: The Double Life of Veronique (1991) and antonia's Line (1995). The key concepts examined are story/plot and character's motivations. Film style is briefly discussed to reinforce further understanding of the key concepts. This study shows that The Double life of Veronique (TDLOV) offers a unique narrative form that differs from that of Antonia's Line in terms of plot construction and character's motivations. There are more narrative gaps found in TDLOV as compared to Antonia's Line. TDLOV has demonstrated a loose chain of events, while characters are not motivated, not to mention its ambiguous ending. On the other hand, Antonia's Line shows that the main character has a goal to achieve with events found to have linked to one another, while its denouement is clear. UPENA 2007 Article PeerReviewed text en http://ir.uitm.edu.my/id/eprint/11612/1/AJ_NORLELA%20ISMAIL%20JSM%2007%201.pdf Ismail, Norlela (2007) Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail. Jurnal Skrin Malaysia, 4. pp. 109-124. ISSN 1823-1020
institution Universiti Teknologi Mara
building Tun Abdul Razak Library
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Teknologi Mara
content_source UiTM Institutional Repository
url_provider http://ir.uitm.edu.my/
language English
topic Motion pictures
spellingShingle Motion pictures
Ismail, Norlela
Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
description If a comparison is to be made between the anti-classical and the classical narrative, which one is the fairest' of all? Each form has its own distinct features and their sheer existence is due to the upheaval point of views about film as cultural identity among film scholars in the early twentieth century. Most European films are believed to have employed the anti-classical narrative whilst mainstream films or referred to as Hollywood films favour the classical narrative. The purpose of this article is to identify the types of film narrative form of European art films. Two films are used as case studies: The Double Life of Veronique (1991) and antonia's Line (1995). The key concepts examined are story/plot and character's motivations. Film style is briefly discussed to reinforce further understanding of the key concepts. This study shows that The Double life of Veronique (TDLOV) offers a unique narrative form that differs from that of Antonia's Line in terms of plot construction and character's motivations. There are more narrative gaps found in TDLOV as compared to Antonia's Line. TDLOV has demonstrated a loose chain of events, while characters are not motivated, not to mention its ambiguous ending. On the other hand, Antonia's Line shows that the main character has a goal to achieve with events found to have linked to one another, while its denouement is clear.
format Article
author Ismail, Norlela
author_facet Ismail, Norlela
author_sort Ismail, Norlela
title Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_short Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_full Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_fullStr Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_full_unstemmed Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_sort narrative form of european art cinema : the case of the double life of veronique (1991) and antonia's line (1995) / norlela ismail
publisher UPENA
publishDate 2007
url http://ir.uitm.edu.my/id/eprint/11612/1/AJ_NORLELA%20ISMAIL%20JSM%2007%201.pdf
http://ir.uitm.edu.my/id/eprint/11612/
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score 13.211869

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