The slides from the session on narrative and genre, applied to a screening of School of Rock

1. Text
Understanding Film
Dr. C. L. Tupling

2. C.L.Tupling - 2014
Summary
This set of slides provide a basic introduction to the
concepts of narrative and genre. We will apply these
concepts to an understanding of the representation of
education in School of Rock.

3. Some Key Concepts
Narrative Structure
Genre
Mise-en-scène

4. C.L.Tupling - 2014
Narrative Structure
“…a chain of events in cause-effect relationship
occurring in time and space” (Bordwell and Thompson,
1986: p. 83).
Narrative relates to the telling of a story, how events are
arranged and rearranged, and provides us with a
starting point for analysis

5. C.L.Tupling - 2014
Using narrative in analysis
Why does the story start and end here?
Why are the events arranged in this order?
What causes the narrative to occur in the order it
does?
What if the narrative structure had been different?

6. C.L.Tupling - 2014
Genre
Grouping or classification of films
Film is a genre of popular culture
Genre is decided by content, conventions, repeated
qualities (Newcomb, 2004)
Can relate to characters, costume, action, setting
Debate over whether genres are invented or discovered

7. C.L.Tupling - 2014
Using genre in analysis
What are the film’s generic features or conventions?
What appears familiar?
Are there any inversions of the genre? (unexpected
features?)
What are the conventions of popular genres?
Is there anything unique about these?

8. C.L.Tupling - 2014
Mise-en-scène
‘Putting into the scene’ – the staging of scenes
Refers to the directors choice over what appears in the
frame of a scene
Consists of setting, costume & make-up, lighting,
staging of movement & performance
Used to achieve ends: - realism, fantasy, surrealism

9. C.L.Tupling - 2014
Using mise-en-scène in
analysis
Ask what does the mise-en-scène represent?
Does change in costume & make-up signify changes in
character?
Does position or perspective signify status of a
character?
Does the lighting of a scene communicate a mood?

10. School of Rock

11. C.L.Tupling - 2014
Plot – Main Story/Narrative
‘A wannabe rock star in need of cash poses as a
substitute teacher at a private prep school and tries to
turn his class into a rock band…’

12. C.L.Tupling - 2014
Sub Plots/Minor Stories
Ned’s story?
Principal Mullin’s story?
Zack’s story?
Summer’s story?
Lawrence’s story?
The class’ story?

13. C.L.Tupling - 2014
Narrative Structure
Linear Structure through 18 chapters/ ‘scenes’
Omniscient Narration
Classic Hollywood three act structure: Set Up/
Confrontation/ Resolution
Plot Points: "any incident, episode, or event that hooks
into the action and spins it around in another direction.“
(Field, 2005: p. 143)

14. C.L.Tupling - 2014
Controlling idea
“A Controlling Idea may be expressed in a single sentence
describing how and why life undergoes change from one
condition of existence at the beginning to another at the
end”
“It identifies the positive or negative charge of the story’s
critical value at the last act’s climax,’ and a cause, ‘the chief
reason that this value has changed to its final state”
(McKee, 1997: p. 115)

15. C.L.Tupling - 2014
Narrative Structure & School of Rock
What is the controlling idea?
For which characters is the equilibrium broken?
Where is the liminal zone of transformation?

16. C.L.Tupling - 2014
Genre & School of Rock
Hollywood comedy?
Musical?
Coming of age?
Good teacher?
School movie?

17. Central Protagonists

18. C.L. Tupling - 2014
Principal Rosalie Mullins
‘I find your methods of
teaching very unusual…’
‘We’re not interested in
experimental methods
here’
‘I can’t make a mistake,
I’ve got to be perfect…’

19. C.L. Tupling - 2014
Mr ‘S’
‘The Artist must be
true…’
‘What kind of a sick
school is this?’
‘Rock ain’t about doin’
things perfect’

20. C.L. Tupling - 2014
Dewey & teaching
Conventional
pedagogy?
Power & Authority
Transformed in the
classroom
(See Fisher, Harris &
Jarvis 2008)

21. C.L.Tupling - 2014
Ambiguities
Rock music – anti authority, unconventional, anarchic
Becomes routinsed, accepted by convention
Anti-intellectual message – teaching requires no
specialist skills or training
Relies on the conventions of authoritarian teaching
styles

22. C.L.Tupling - 2014
References
Bordwell, D., & Thompson, K. (1986). Film art: An introduction, Boston: McGraw-
Hill
Field, S (2005) Screenplay: The Foundations of Screenwriting, New York: Delta
Fisher, R; Harris, A; Jarvis, C (2008) Education in Popular Culture: Telling Tales on
Teachers and Learners, London: Routledge
McKee, R. (1997) Story. Substance, Structure, Style, and the Principles of
Screenwriting. New York: Harper Collins
Newcomb, H. (2004) ‘Narrative and Genre’, in J.D.H. Downing, D. McQuail, P.
Schlesinger and E Wartella (eds.) The Sage Handbook of Media Studies, London:
Sage, pp. 413-428.
Speed, L (2007) ‘The Possibilities of Roads Not Taken: Intellect and Utopia in the
Films of Richard Linklater’, Journal of Popular Film and Television, 35:3, 98-106