Narrative Across Media: The Languages of Storytelling

Marie-Laure Ryan, James Ruppert, John W. Bernet
U of Nebraska Press, 2004 - 422 pages
Narratology has been conceived from its earliest days as a project that transcends disciplines and media. The essays gathered here address the question of how narrative migrates, mutates, and creates meaning as it is expressed across various media.ø

Dividing the inquiry into five areas: face-to-face narrative, still pictures, moving pictures, music, and digital media, Narrative across Media investigates how the intrinsic properties of the supporting medium shape the form of narrative and affect the narrative experience. Unlike other interdisciplinary approaches to narrative studies, all of which have tended to concentrate on narrative across language-supported fields, this unique collection provides a much-needed analysis of how narrative operates when expressed through visual, gestural, electronic, and musical means. In doing so, the collection redefines the act of storytelling. Although the fields of media and narrative studies have been invigorated by a variety of theoretical approaches, this volume seeks to avoid a dominant theoretical bias by providing instead a collection of concrete studies that inspire a direct look at texts rather than relying on a particular theory of interpretation. A contribution to both narrative and media studies, Narrative across Media is the first attempt to bridge the two disciplines.


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Pages sélectionnées

Table des matières

FacetoFace Narration
Toward a Transmedial Narratology
Frame and Boundary in the Phenomenology of Narrative
Gesture and the Poetics of Prose
Still Pictures
Pictorial Narrativity
Art Spiegelmans Maus and the Graphic Narrative
Moving Pictures
Overview of the Music and Narrative Field
Music as a Narrative Art
Music Genre and Narrative Theory
Digital Media
Will New Media Produce New Narratives?
Quest Games as PostNarrative Discourse
The Myths of Interactive Cinema
Textual Theory and Blind Spots in Media Studies

NeoStructuralist Narratology and the Functions of Filmic Storytelling
Literary Film Adaptation and the FormContent Dilemma
Ordinary Horror on Reality TV
Droits d'auteur

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Page 1 - ... the subject of a story may serve as argument for a ballet, that of a novel can be transposed to stage or screen, one can recount in words a film to someone who has not seen it.3 "This transposability of the story," remarks Chatman, "is the strongest reason for arguing that narratives are indeed structures independent of any medium
Page 28 - This fact, characteristic of all media, means that the "content" of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and print is the content of the telegraph. If it is asked, "What is the content of speech?," it is necessary to say, "It is an actual process of thought, which is in itself nonverbal.
Page 3 - A good story and a well-formed argument are different natural kinds. Both can be used as means for convincing another. Yet what they convince of is fundamentally different: arguments convince one of their truth, stories of their lifelikeness.
Page 28 - It could be argued that these activities are in some way the "content" of the electric light, since they could not exist without the electric light. This fact merely underlines the point that "the medium is the message" because it is the medium that shapes and controls the scale and form of human association and action.

À propos de l'auteur (2004)

Marie-Laure Ryan is an independent scholar. She is the author of Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media and Possible Worlds, Artificial Intelligence, and Narrative Theory.

Informations bibliographiques