Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail

If a comparison is to be made between the anti-classical and the classical narrative, which one is the fairest' of all? Each form has its own distinct features and their sheer existence is due to the upheaval point of views about film as cultural identity among film scholars in the early twenti...

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Main Author:	Ismail, Norlela
Format:	Article
Language:	English
Published:	UPENA 2007
Subjects:	Motion pictures
Online Access:	http://ir.uitm.edu.my/id/eprint/11612/ http://ir.uitm.edu.my/id/eprint/11612/1/AJ_NORLELA%20ISMAIL%20JSM%2007%201.pdf

id	uitm-11612
recordtype	eprints
spelling	uitm-116122016-06-07T08:17:04Z http://ir.uitm.edu.my/id/eprint/11612/ Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail Ismail, Norlela Motion pictures If a comparison is to be made between the anti-classical and the classical narrative, which one is the fairest' of all? Each form has its own distinct features and their sheer existence is due to the upheaval point of views about film as cultural identity among film scholars in the early twentieth century. Most European films are believed to have employed the anti-classical narrative whilst mainstream films or referred to as Hollywood films favour the classical narrative. The purpose of this article is to identify the types of film narrative form of European art films. Two films are used as case studies: The Double Life of Veronique (1991) and antonia's Line (1995). The key concepts examined are story/plot and character's motivations. Film style is briefly discussed to reinforce further understanding of the key concepts. This study shows that The Double life of Veronique (TDLOV) offers a unique narrative form that differs from that of Antonia's Line in terms of plot construction and character's motivations. There are more narrative gaps found in TDLOV as compared to Antonia's Line. TDLOV has demonstrated a loose chain of events, while characters are not motivated, not to mention its ambiguous ending. On the other hand, Antonia's Line shows that the main character has a goal to achieve with events found to have linked to one another, while its denouement is clear. UPENA 2007 Article PeerReviewed text en http://ir.uitm.edu.my/id/eprint/11612/1/AJ_NORLELA%20ISMAIL%20JSM%2007%201.pdf Ismail, Norlela (2007) Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail. Jurnal Skrin Malaysia, 4. pp. 109-124. ISSN 1823-1020
repository_type	Digital Repository
institution_category	Local University
institution	Universiti Teknologi MARA
building	UiTM Institutional Repository
collection	Online Access
language	English
topic	Motion pictures
spellingShingle	Motion pictures Ismail, Norlela Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
description	If a comparison is to be made between the anti-classical and the classical narrative, which one is the fairest' of all? Each form has its own distinct features and their sheer existence is due to the upheaval point of views about film as cultural identity among film scholars in the early twentieth century. Most European films are believed to have employed the anti-classical narrative whilst mainstream films or referred to as Hollywood films favour the classical narrative. The purpose of this article is to identify the types of film narrative form of European art films. Two films are used as case studies: The Double Life of Veronique (1991) and antonia's Line (1995). The key concepts examined are story/plot and character's motivations. Film style is briefly discussed to reinforce further understanding of the key concepts. This study shows that The Double life of Veronique (TDLOV) offers a unique narrative form that differs from that of Antonia's Line in terms of plot construction and character's motivations. There are more narrative gaps found in TDLOV as compared to Antonia's Line. TDLOV has demonstrated a loose chain of events, while characters are not motivated, not to mention its ambiguous ending. On the other hand, Antonia's Line shows that the main character has a goal to achieve with events found to have linked to one another, while its denouement is clear.
format	Article
author	Ismail, Norlela
author_facet	Ismail, Norlela
author_sort	Ismail, Norlela
title	Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_short	Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_full	Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_fullStr	Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_full_unstemmed	Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail
title_sort	narrative form of european art cinema : the case of the double life of veronique (1991) and antonia's line (1995) / norlela ismail
publisher	UPENA
publishDate	2007
url	http://ir.uitm.edu.my/id/eprint/11612/ http://ir.uitm.edu.my/id/eprint/11612/1/AJ_NORLELA%20ISMAIL%20JSM%2007%201.pdf
first_indexed	2023-09-18T22:48:16Z
last_indexed	2023-09-18T22:48:16Z
_version_	1777417371665825792

Narrative form of European art cinema : the case of The Double Life of Veronique (1991) and Antonia's Line (1995) / Norlela Ismail

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