ng, it involves the referential perspective of narrative, its ability to trigger worlds whereby interpreters take up imaginative habitation (Alber, 2011, p. 68). Arguably, world making is essentially a feature or narrative experiences, the foundation of storytelling and stories that should comprise the starting point for narrative evaluation and tools of analysis created from within.
Consideration given to narrative worldmaking reveals the manner in which storytellers use different symbol systems like written or spoken language, static or moving images, and world-image amalgamation, to trigger critics to involve in the process of co-establishing narrative worlds (Kolker, 2009, p. 9). This determines whether the worlds are imaginable as autonomous worlds of fiction or whether fictional accounts show the subject to falsification. Although stories offer a way for establishing, transforming, and aggregating narratives in a wide range of settings and media, diverse forms of story activities involve different protocols for worldmaking with a variety of consequences and impacts.
In this film, Steven Spielberg explores twofold virtuosity. First, he shows his skill in designing powerful cinematic stories. Second, the filmmaker made his movie a public event, invoking an intense debate. The film opens with the slogan “inspired by real events”, in which case it relies on rhetoric devices usually employed to claim a narratives reference to historical incidences (Inaugural Symposium of the Center for Narrative Research, Heinen & Sommer, 2009, p. 172).
The movie commences with the terrorist event transforming into a media incident broadcasted live. It continues with joint military and intelligence retaliations against potential organizers and other foes of the country under the perception of this first shock, and resulting into an increasingly painful pondering over a person’s value structure within the retaliations. In the film, Avner Kaufman and his crew easily present