[Week 9 Oct 28] Narrative analysis
1. Code: syntagm, paradigm
1.1. Paradigm: a class of objects or concepts
1.2. Syntagm: an element which follows another in a particular sequence
1.3. Example: menu
1.4. Example: The narrative of Stephen Chau's movie
2. Narrative analysis
2.1. Narration: the process and effects of representing time in texts
2.2. Narrative: any text that functions through these processes and effects
2.3. Two basic elements of narrative: story and plot
-Plot is the narrative as it is read, seen or heard from the first to the last word or image.
-Story is the narrative in chronological order, the abstract order of events as they follow each other.
-Every scene of Stephen Chau's movie is plot. The story of most of his movies is a
3. Analysis of character and function (Vladimir Propp 1895-1970)
3.1. Eight characters (spheres of action) of folktales
-The Villian
-The Hero
-The Donor
-The Helper
-The Princess
-Her Father
-The Dispatcher
-The Falso hero
3.2. Thirty-one functions/ plots
Examples:
"A member of a family leaves home"
"The punishment of the villain"
For details, please visit here.
3.3. Example I: Princess Diana and fairy tale
3.4. Example II: Stephen Chau's movie as a maile-centric narrative
4. Equilibrium-Disequilibrium-Equilibrium (Tzvetan Todorov)
4.1.Todorov argues that all stories begin with "equilibrium", the state of balance between different forces.
4.2. The movement of narrative breaks down the equilibrium but reaches another equilibrium.
4.3. Equilibrium refers to a status quo or the establisment.
4.4. Example: Golden Chicken II ends with a rhapsody of the status quo (economic prosperity, tax-free, no unemployment, strong currency, development-oriented).
4.5. Example: Infernal Affairs was "forced " to end with "the punishment of the villain".
4.6. Example: The proposed political reform is too slow, too fast or appropriate? Where/ When is the starting point? When/where is the ending?
-Now=a new beginning=preparation for launching a spaceship?
(「我們不能太急進」、「大家上太空的目標一致，現在要做好地面工作。當科研、人才培訓等方面有一定把握，下一步才會有升空日期和計畫，到時自然會有普選時間表、路線圖。」)
-The late 1980s?
-Hong Kong in the 21th century=The US in the 18th century?
(「美國也要一百年女人才有投票權！」)
5. Narrative: subject-character, pleasure and desire
5.1. Readers get a variety of pleasure from narrative
5.2. Narrative plunges readers into its movement towards the (expected or unexpected) ending.
5.3. Narrative put readers into the subject characters (the viewpoint of narrative)
-Example: The contribution of Lee Ka Shing to medical science development
6. Case study: Narratives about Hong Kong
6.1. The narrative of "a self-sustaining Hong Kong society" (Lui Tai Lok)
6.1.1. Equilibrium-Disequilibrium-Equilibrium
-Equilibrium I: political apathy (the early 1970s)
「所以，我必須承認，在中五會考以前，社會事件如『爭取中文成為法定語文運動』、『保衛釣魚台運動』、『反貪污、捉葛柏』等，並沒有對我造成任何思想上的衝擊。」（頁662）
-Disequilibrium: Ten years of social transformation (the 1970s)
*The reign of Sir Murray McLehose
*Economic booming after oil crisis
*The rise of local popular culture
*The rise of local identity
*The flood of refugees from mainland China
-Equilibrium II: 1980
*Cancellation of ”Reaching base" policy (抵壘政策)
6.1.2. Character analysis
-An ordinary Hong Kong-born man
-Lui Tai Lok: an hidden identity of intellectual
6.1.3. Cultural codes
-The birth of Hong Kong as an imagined community
-An apolitical identity
-A non-nationalist identity
6.1.4. Pleasure and desire
-A desire for pursuing self-identity in history
-A pleasure from identifying a collective imagination
6.2. The narrative of Golden Chicken & Golden Chicken II
6.2.1. Equilibrium-Disequilibrium-Equilibrium
-The golden age of the 1980s-1990s
-The groomy period after 1997 (Economic crisis and SARS)
-The golden age in the future
6.2.2. Character analysis
-Ah Gum as heroine: materialistic, independent, flexibile, optimistic, local but worshipping everything foreign, "Hongkonger"
6.2.3. Cultural codes
-Narrator: "Supersitious" belief in individual effort and fortune
-Equilibrium/ Status quo: Unquestionable developmentalism
6.2.4. Desire and pleasure
-A desire to rescuing or rebuilding a Hong Kong identity from crisis
-The pleasure from re-affirming an identity in crisis
References:
重構記憶，出賣感情 ─《金雞2》
《金雞2》：其實意淫也是一種美
7. Ideology and narrative
7.1. Analysis of narrative structures as cultural codes
7.2. Viewpoints
7.3. The functions of narrative
-Making and imagining the past(s)
-Explaining the present
-Projecting one's identity and desire onto the future
Readings for next week
*Mulvey, Laura. 1975. "Visual Culture and Narrative Cinema." Screen 16.3 Autumn, pp. 6-18.
佛洛伊德心理分析學說與教育
1.1. Paradigm: a class of objects or concepts
1.2. Syntagm: an element which follows another in a particular sequence
1.3. Example: menu
| | | Paradigm |
|
| Appetizer | (salad, wine, cheese, … …) |
| First course | (soup, pasta, … …) | |
| Second course | (beef, chicken, mutton, fish, … …) | |
| Side Dishes | (potatoes, eggplant, spinach, tomatoes, … …) | |
| Dissert | (cake, fruit, cheese and nuts) |
1.4. Example: The narrative of Stephen Chau's movie
| | | Paradigm |
| Syntagm | Beginning (Difficulty) | 史提芬周失敗（《食神》）、少林弟子當拾荒者（《少林足球》）、阿星一事無成（《功夫》）。 |
| Middle (Struggle) | 「十八銅人」、努力發揚少林功夫、努力學做一個「壞人」。 | |
| End (Victory) | 當上食神、上了時代周刊封面、練成如來神掌打敗火雲邪神。 |
2. Narrative analysis
2.1. Narration: the process and effects of representing time in texts
2.2. Narrative: any text that functions through these processes and effects
2.3. Two basic elements of narrative: story and plot
-Plot is the narrative as it is read, seen or heard from the first to the last word or image.
-Story is the narrative in chronological order, the abstract order of events as they follow each other.
-Every scene of Stephen Chau's movie is plot. The story of most of his movies is a
3. Analysis of character and function (Vladimir Propp 1895-1970)3.1. Eight characters (spheres of action) of folktales
-The Villian
-The Hero
-The Donor
-The Helper
-The Princess
-Her Father
-The Dispatcher
-The Falso hero
3.2. Thirty-one functions/ plots
Examples:
"A member of a family leaves home"
"The punishment of the villain"
For details, please visit here.
3.3. Example I: Princess Diana and fairy tale
3.4. Example II: Stephen Chau's movie as a maile-centric narrative
4. Equilibrium-Disequilibrium-Equilibrium (Tzvetan Todorov)
4.1.Todorov argues that all stories begin with "equilibrium", the state of balance between different forces.
4.2. The movement of narrative breaks down the equilibrium but reaches another equilibrium.
4.3. Equilibrium refers to a status quo or the establisment.
4.4. Example: Golden Chicken II ends with a rhapsody of the status quo (economic prosperity, tax-free, no unemployment, strong currency, development-oriented).
4.5. Example: Infernal Affairs was "forced " to end with "the punishment of the villain".
4.6. Example: The proposed political reform is too slow, too fast or appropriate? Where/ When is the starting point? When/where is the ending?
-Now=a new beginning=preparation for launching a spaceship?
(「我們不能太急進」、「大家上太空的目標一致，現在要做好地面工作。當科研、人才培訓等方面有一定把握，下一步才會有升空日期和計畫，到時自然會有普選時間表、路線圖。」)
-The late 1980s?
-Hong Kong in the 21th century=The US in the 18th century?
(「美國也要一百年女人才有投票權！」)
5. Narrative: subject-character, pleasure and desire
5.1. Readers get a variety of pleasure from narrative
5.2. Narrative plunges readers into its movement towards the (expected or unexpected) ending.
5.3. Narrative put readers into the subject characters (the viewpoint of narrative)
-Example: The contribution of Lee Ka Shing to medical science development
6. Case study: Narratives about Hong Kong
6.1. The narrative of "a self-sustaining Hong Kong society" (Lui Tai Lok)
6.1.1. Equilibrium-Disequilibrium-Equilibrium
-Equilibrium I: political apathy (the early 1970s)
「所以，我必須承認，在中五會考以前，社會事件如『爭取中文成為法定語文運動』、『保衛釣魚台運動』、『反貪污、捉葛柏』等，並沒有對我造成任何思想上的衝擊。」（頁662）
-Disequilibrium: Ten years of social transformation (the 1970s)
*The reign of Sir Murray McLehose
*Economic booming after oil crisis
*The rise of local popular culture
*The rise of local identity
*The flood of refugees from mainland China
-Equilibrium II: 1980
*Cancellation of ”Reaching base" policy (抵壘政策)
6.1.2. Character analysis
-An ordinary Hong Kong-born man
-Lui Tai Lok: an hidden identity of intellectual
6.1.3. Cultural codes
-The birth of Hong Kong as an imagined community
-An apolitical identity
-A non-nationalist identity
6.1.4. Pleasure and desire
-A desire for pursuing self-identity in history
-A pleasure from identifying a collective imagination
6.2. The narrative of Golden Chicken & Golden Chicken II
6.2.1. Equilibrium-Disequilibrium-Equilibrium
-The golden age of the 1980s-1990s
-The groomy period after 1997 (Economic crisis and SARS)
-The golden age in the future
6.2.2. Character analysis
-Ah Gum as heroine: materialistic, independent, flexibile, optimistic, local but worshipping everything foreign, "Hongkonger"
6.2.3. Cultural codes
-Narrator: "Supersitious" belief in individual effort and fortune
-Equilibrium/ Status quo: Unquestionable developmentalism
6.2.4. Desire and pleasure
-A desire to rescuing or rebuilding a Hong Kong identity from crisis
-The pleasure from re-affirming an identity in crisis
References:
重構記憶，出賣感情 ─《金雞2》
《金雞2》：其實意淫也是一種美
7. Ideology and narrative
7.1. Analysis of narrative structures as cultural codes
7.2. Viewpoints
7.3. The functions of narrative
-Making and imagining the past(s)
-Explaining the present
-Projecting one's identity and desire onto the future
Readings for next week
*Mulvey, Laura. 1975. "Visual Culture and Narrative Cinema." Screen 16.3 Autumn, pp. 6-18.
佛洛伊德心理分析學說與教育
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