Literature Review 2 by Charlie Minnion

Woodward, Kathryn. (1997). Diaspora and the Detours of Identity In Identity and Difference Volume 3. Pp 301-318. Sage : London

Content

Here, Woodward defines Identity, exploring the ways it has been used, understood and invoked; mainly in a political context. She notes that Identity helps us to understand the pronoun we and that the formation of every we must exclude a they. She comes back to this idea throughout the chapter. She talks about Identities function in forming solidarity. Furthermore, she suggests that Identity stems from social rather then natural phenomena. Reflecting Rousseau she notes that work must be done and institutions built in order to produce the feelings of identity which bind people together. Woodward also sheds light on Identities current place in late modernity referring to the impact of technology and peoples movement.

Woodward looks deeply into Fascism as a clear example of how identity can be socially and politically invoked to enforce solidarity. Observing that use of uniforms, body movement, drill, pageantry and hierarchy creates a larger organic entity that encompasses and dissolves individuality. She speaks of otherness posing a threat on this unified solidarity, referring to those who carry an indelible mark or code that separates them. She finds problems with this idea of identity being simplified to physical attributes. In the Rwanda Genocide in 1994 It was assumed that if you were tall with a straight nose that meant you were Tutsi and therefore should be eliminated. As a result, a number of tall Hutus (those that were meant to remain) were killed.

She talks about modern individual identity. Instead of Identity being fixed it carries the capacity to be re

shaped through the ebb and flow of consumerism. She suggests that possessing an exclusive identity seems to acquire certainty about who one is and where one fits. In the third part of this chapter she explores different ways identity is invoked including an analysis of Mandelas inaugural speech. Woodward finds that Mandelas words are an invitation to appreciate the ecological dynamics of identity-formation.

Structure

This chapter is divided into three parts. The first is the Introduction which opens with two contrasting quotes. Firstly, Rousseau suggesting a primordial idea of identity then Deleuze who is more reflective of our late modern times, speaking of a problem with origin. Already, an argument is set. The introduction offers a broad oversight of the ambiguous nature of identity and she outlines what she will talk about.

The second and third parts are divided into sub headings. In the second part she describes varieties of Identity in depth. She incorporates a still from a film (The Nuremburg rally: a still from Leni Riefenstahls film, Triumph of the Will) which visually displays what she is talking about and also illustrates Woodwards point that film is used to mediate identity. Later on, she uses the Rwanda genocide of 1994 to support the problems she outlines in defining identities. In talking about individual identity she refers to du Gay, Guhenne and Bauman to support her ideas.

In the third part she talks about different ideas that recur where identity is invoked. She uses Turkle and Battaglia to support her first two ideas and considers Nelson Mandelas inaugural speech as a key resource for her last idea. Woodward summarises both second and third parts of the chapter with bullet points clarifying her ideas and theories.

Bordwell, David. Thompson, Kristin. (2008). Narrative as a Formal System In Film Art: an introduction 8th edition. Pp 74-107. McGraw-Hill : New York

Content and Structure

This Chapter offers helpful insight into the workings of narrative. It opens by saying how prevalent narrative is in our lives, stating that its a fundamental way that humans make sense of the world. Early on, it describes narrative as a chain of events in cause-effect relationship occurring in time and space. Following the first 2 sections, the chapter covers the following in consecutive order: Plot and Story, Cause and Effect, Time, Space, Openings, Closings and Patterns of Development, Narration, Classical Hollywood Cinema (CHC) ending on an analysis of Citizen Kane (which serves as a good comparison as it deviates from CHC.) Some sections are further broken up into subheadings defining relevant terms. In the summary it presents an informed series of questions that can be used in analysing and understanding the formal structures in a narrative film. The chapter is consistently backed up by examples of films and quotes by directors. It is further supported by stills and diagrams.

The plot is what is visibly and audibly presented in the film. Story is a combination of plot and events that the spectator infers (events that are not explicitly presented.) This is supported by a simple analysis of Alfred Hitchcocks North by Northwest and stills of the film. The distinction between story and plot helps define other areas of narrative (Time, Causality and Space.) If the plot presents causes but withholds effects it prompts our suspense and uncertainty. If the plot withholds causes then it arouses our curiosity.

Time is a key element of Narrative and can be used in ways that engage and challenge the audience. Temporal order refers to how the plot has been chronologically organised. For example, use of flash backs will cause the audience to mentally rearrange the story. Temporal Frequency is when a story event is presented

several times, this is helpful for putting old information into new contexts of understanding. Story and plot durations refer to the sum of all time in the total story and plot. Screen duration refers to the length of the film. Here, North by Northwest has been used as an example (Story duration: several years, plot duration: four days and nights, screen duration: 136 minutes.) A Closer Look focuses into Playing games with story time this section looks at how time has been exploited in different kinds of films to produce a more immersive narrative. They talk about Pulp Fiction summarising that the reordering of events is startling and confusing at first, but it is dramatically effective in the way the conclusion forces us to rethink events we have seen earlier. Here they also mention what if and puzzle films.(such as Groundhog Day and Memento.) These films engross us in the dynamics of narrative form.

The Classical Hollywood Cinema chapter talks about the dominance of a certain narrative form that assumed its most elaborate shape in American Studio films. It is also used in many other countries. These films tend to use a goal-orientated plot, with individual characters being the main causal agents. Time is usually subordinated to the cause-effect chain. A key character trait is desire and the protagonist is likely to come across a counterforce to overcome. Most of these films have a strong degree of closure.