It is up to you - Coursework Example

The Usual Suspects Fabula, often translated as story, consists of main characters, events (happened to these characters) and details regarding these events, as it illustrate real vision to the audience. The chronological arrangement of events, i.e. their sequence according to time specific manner, makes a fabula strong and interesting and influence audience in a positive way. As much of importance is the story for the film, equal importance has been attributed to the syuzhet of a film, as ‘how’ the story is being told to audience has equal contribution in impression of audience to ‘what’ the story is all about.

The main components of syuzhet, often translated as plot or the presentation of the story, include actions, scenes and episodes and their distribution in such a way that these make sense and are interconnected, providing ease to understanding of audience. Mostly the syuzhet articulated in good films and dramas are those which describe exposition of characters, dispute, climax and ending of the story. Exposition of characters may be sometimes delayed and distributed across the whole film. Artists usually design syuzhet in such a way that it grasps attention of audience, and strengthens the gaps between cause-effect chains of a fabula.

The syuzhets that provide knowledge about the characters such as family, location, profession, values, and class, among others, are usually selected. Events which seems expalinatory and communicative, are usually implied when designing syuzhet’s presentation of fabula, thereby interlinking the events seprated on a temporal or spatial scale. Providing details regarding main events and characters through syuzhet in a film untangle the complexity of fabula, grab the interest of audience and increase their curiosity about the end of story.

ReferenceBordwell, David: Principles of narration. In: Philip Simpson . [et al.] (eds.): Film theory: critical concepts in media and cultural studies. Vol. 2. London [etc.]: Routledge, 2004, 5. 245-267. [Ursprünglich in: David Bordwell: Narration in the fiction film. Madison: University of Wisconsin Press, 1985, 5. 48-62]