In the final chapters of Bordwell’s book, he offers two new modes of narration and analyzes the innovative style of Godard. What insights from these films and modes speak to examples that we’ve studied in class? (For instance, might Trapped in the Closet be viewed as parametric?) Or are these categories uniquely tied to their historical moments?
2 thoughts on “Responses for 11/9”
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Although Trapped in the Closet is highly stylized and “poetic,” because as R. Kelly says, and I’m paraphrasing, “You know the words like rhyme,” I have trouble deeming it parametric narration. My main reason is that Bordwell ends his introductory description of parametric narration by saying, “…I can ask only patience and willingness to consider that, at least in some films, apparently trivial aspects (in terms of style?) may turn out to be essential.” This statement would seem to imply that authorial intent relates to whether a film should be considered parametric narration or not (I added the parenthetical question because I wasn’t 100% certain of what Bordwell was saying). My understanding of the term is that some authors make stylistic choices, which may not be readily apparent, and that these decisions and idiosyncrasies shape the narrative and its meaning. If the author did not intend to go outside the norms, then does it just become bad filmmaking? I’m not sure. I’m slightly confused why Bordwell felt the need to say “…at least in some films,” which would seem to nullify a generalization that authorial intent, as far as style goes, goes hand-in-hand with defining films as parametric. If we are to return to authorship and base our decision off of R. Kelly as an authorial figure, I’d have to stick my guns and say, “No, R. Kelly is not 100% in on the game/ He doesn’t understand the reason or effect of some of his stylistic decisions.” But that is if authorship is part of the genre’s definition. Opinions?
I’m not sold on Parametric Narration as its own mode. Its very similar to Art-Cinema, where the style of the film is more prominent. Bordwell draws a distinction between the two by saying that style is even more prominent in Parametric films, and that the style is there for its own sake,”distinct from the demands of the syuzhet system.” I think it would be easier to accept Parametric Narration as its own mode if the Art-Cinema mode were not so big. As it is, I’m not sure where to draw the line between the two.
In Parametric Narration, the style should be emphasized as much as, or more than the syuzhet. I think that most of the time, Trapped In The Closet is focused on the syuzhet. The narrator and song, while definitely not classical, are used to tell the syuzhet. When R. Kelly does something really weird/crazy/unexpected, it creates a mood where the weird/crazy/unexpected parts of the syuzhet can take place.