Looking at "11:14", what strikes me most is not the search for the nature of each character, but rather the "sequence of narrative actions" in literary theory. Yes, I'm not talking about filmmaking, I'm talking about literature, texts.
Action is the immediate cause that drives the course of events, and in the basic form of a general logic of action there is "possibility - becoming reality - achieving result".
Take the simple scene of Frank transferring the male corpse for analysis:
First, Frank went out to walk the dog and found his daughter Cheri's sign in the cemetery, next to a man's corpse with a mutilated head. Possibility", which indicates that an activity is about to happen, or has the conditions for it to happen;
then, Frank began to transfer the male corpse, put it in the trunk of the car, drove to the overpass, and avoided the sight of others, and started the action of transferring the corpse, namely "Reality"; in
the end, Frank successfully threw the man's body, smashed it into a car, and destroyed the bloody shirt. This marks the success of the operation and "results".
Of course, the analysis of one of the small narrative scenes cannot be directly applied to a series of intricate narrative scenes. When encountering more complex story actions, we may need a combination of several action sequences, such as:
"End-to-End Continuation". The outcome of one action becomes the possibility of another action, forming a chain of events that keeps the story going. For example: Cheri had a rendezvous with Aaron, the fast-dead boyfriend, in the cemetery. As a result, poor A died unrecognizable. This provided the possibility for the F guard to throw the body, and the poor A was thrown into Jack's car again. , and was finally arrested by the police. And if this story ends here, it would not be a place to praise the movie. The clever thing is that Jack did not suffer this in vain. The reason for this series of stories is that Jack is also one of C's boyfriends, and J instructed C to go to A. Defrauding money, the two plan to elope with the money. This formed a series of stories into a big link, and J was no longer just a misfortune who was wronged alive, but rather pitiful and deserving.
"Intermediate Inclusion" The unfolding process of an action also includes a subordinate action sequence as a means, and the subordinate action sequence can also be included in this subordinate sequence expansion. For example, Duffy's fake robbery at the grocery store included D's girlfriend C who was pregnant and said she needed money. D was very familiar with salesperson B. Salesperson Buzzy was afraid of losing her job by playing with a gun, and B's sister was sick and needed money.
"Parallel left and right". Behaviors in the same sequence of events may form two parallel sequences by changing angles. For example, when F transferred the male corpse, on the same side, C was also trying to blame D and stealing the bowling ball. F successfully transferred the male corpse, C returned to the cemetery to find that the male corpse was missing. (Actually, this example is a bit far-fetched. If you want to understand this form clearly, take this example from outside the movie: the lost mother wants to find the lost child, the lost child is looking for her own mother, the two action clues correspond to Development, how to arrange the storyline, generally miss, miss, miss again... Why? It stretches the plot ╮(╯▽╰)╭)
Of course, how can such a classic multi-line narrative work be able to rely on such a A few small basic theories are caught, and you can continue to supplement and develop the others~~
Theoretical reference "Literary Theory Course"
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