Composition law of component construction system; Transitivity means that the structure is a dynamic transformation system (not a static form); Self-adjustment means that structural transformation will not go beyond structural boundaries, and it is conservative and closed. Aristotle first pointed out that the narrative structure of literature is plot arrangement, and he thought that tragic plot should have a beginning and an end (integrity) and a length (time continuation process). Plot structure plays an important role in traditional narrative works, and the most typical one is the structure of drama conflict: prologue-beginning-development-climax-ending-ending. Structuralism established a "centralized structure", while deconstruction resolutely opposed centralization, thinking that the center is "not a fixed point, but a function, an uncertain point that makes the activities of countless symbol substitutes possible", and they moved from "works" to "this article". Barthes believes that "this article has no structure, everything in this article has been hinted and used many times, and this article has no complete whole or ultimate structure." He also believes that "there is no such thing as literary originality ... all literature is textualized".
Edit the narrative structure of this paragraph.
The narrative structure of movies also has multiple levels (three levels): the first level refers to organizational relations and expressions, which can be called text structure or overall structure. Equivalent to the montage structure, it is the overall structure of the film, including "the potential structure, planning, design, comparison and the overall feeling of the form and content as a result" (in the words of Sa Thomas). Narrative structure is the skeleton and backbone of film life, which is characterized by its appearance and style. The second level refers to the organizational relationship of the overall film system, such as the genre film structure model, which is above the overall structure; The third level is under the overall structure, that is, the combination of various elements in the film, such as the combination of plot, picture and clip. In short, the narrative structure of the film involves more elements, so it is more complicated, and it needs fine plot design and exquisite structural layout to tell a good story. The "unstructured" created by the new wave is actually a more hidden, free and loose structure. Structure is not an intuitive object, so it is difficult for the general audience to analyze it. This is the significance of analyzing the film narrative structure model. Through the analysis of structural mode, it is easy to grasp the general rules and innovative ways of film narrative composition, so that creators and audiences can follow rules and guidelines when structuring and interpreting this article. Structure is just a form. Although it is very important, it cannot be separated from the content, so the analysis of structural mode cannot be separated from the understanding of the content. 1, before grasping the narrative structure, we must first grasp the narrative angle: ①, omniscient and omnipotent narrative (third person). Todorov is called "narrator > character" and Genette is called "zero focus". The narrator is Almighty God, and most movies adopt this perspective, such as Casablanca. Traditional movies prefer this kind. (2) Limited narration (first person). Todorov called it "narrator = character" and Genette called it "internal focus", such as Old Things in the South of the City, Butterfly Dream (with the same narrative perspective) and Citizen Kane (with the changed narrative perspective). Modernist movies prefer this kind. (3) Pure objective narrative (third person or nobody). Todorov called it "the narrator.