Reporting

Today’s studio was very valuable because Seth spent a good portion of the session clarifying important terms to help us specify the focus of our explorations more succinctly and accurately. We were made aware of the distinction between narrative and non-narrative structure, which furthered my understanding of these concepts. In addition, we explored multiple types of form that belong to both narrative and non-narrative structure, being sure to clarify their differences. A few examples of the types of form we discussed are: linear narrative, linear non-narrative, multi-linear narrative, categorical form, experimental form and associational form. One of the notions raised that I found particularly interesting was the fact that a text can be non-narrative, whilst being structured. I had originally thought that anything that followed an identifiable story line or chain of events would be considered narrative as opposed to non-narrative. However today’s studio indicated that doesn’t have a chain of cause-effect relationships but is still structured around the presence of a recurring element, is considered a non-narrative. For example, the categorical non-narrative organises content into a taxonomy (group of like content). This distinction is relevant because it underpins the language used in this studio, as well as provides vital context for the intention of the project explorations.

Relating

I have previously found the specifics of terminology regarding narrative to be slightly confusing and I have encountered a similar discoveries/clarifications during cinema studies last year, in which we also looked at the work of Bordwell and Thompson. The conditions were very similar in the sense that it took for me to read their description of film form and their notions surrounding narrative structures to highlight my confusion and clarify my understanding. So similar to the last time this confusion occurred, it is important for me to look again closely at the work of Bordwell and Thompson to understand specific terminology, which can be related to our own practice in project 4, as well as this studio in general.

Reasoning

I would connect the potential misconception of narrative terminology, to the flexible use of the term narrative. Naturally, in discussion about narrative during this studio and media practices through university, I have noticed the term narrative be used to describe an array of concepts surrounding story, character intention, action motivation, sequence of images/elements, etc. Meaning without specifying the requirement for narrative to refer purely to structure, ambiguity arises.

Reconstructing

In the interest of minimsing ambiguity in our exploration of skate video, it is crucial to understand exactly what type of form we are analysing and how the form is positioned in relation to other areas of structure, etc. As much as I tried to incorporate as much practical elements as possible into the exploration of project 3, it appears important in future to balance a practice-led enquiry with a theory-led inquiry. Meaning theoretical research regarding the terminology and framework surrounding skate video or narrative/non-narrative linear structures will be useful for the development of project 4 to address the aims of the studio with more clarity.