{Guest Post} [Film: After Life, Hirokazu Koreeda, 1998]

The Wonder of Life:

How Hirokazu Koreeda Uses Narrative Techniques to Control his Audience’s Perceptions in After Life

 

(The nature of this article is such that it requires spoiling basic plot details of After Life, so you should only continue reading after this paragraph if you either do not mind spoilers or have already seen the film. – The Gemsbok)

 

After Life movie poster - Hirokazu Koreeda - restricted narration, subjectivity, objectivity

Introduction:

The meaning of existence, the value of time, and the nature of life after death are explored in countless forms of cultural production, ranging from novels to advertisements; however, one unique Japanese film called After Life takes its audience into the realm between life and afterlife.

Slated for a one week deadline, twenty-two dead clients are in search of a single memory to carry into eternity while caseworkers reproduce each unique experience onto film. By manipulating the audience’s range and depth of knowledge, director Hirokazu Koreeda successfully enlists mainly restricted and subjective narration to construct the narrative structure of After Life.

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{Guest Post} [Film: After Life, Hirokazu Koreeda, 1998]

The Wonder of Life:

How Hirokazu Koreeda Uses Narrative Techniques to Control his Audience’s Perceptions in After Life

was last modified: August 26th, 2016 by Vivien Le

[Film: Sunset Boulevard, Billy Wilder, 1950]
Conflated Requiems:

The Flawless, Eery Use of the Protagonist Narrator in Billy Wilder’s Sunset Boulevard

 

Gloria Swanson Sketch by M.R.P. - Sunest Boulevard - Billy Wilder - narrator

Sketch by M.R.P.

Introduction:

This article is essentially a recommendation (without qualifying remarks) of a film that really needs no introduction: Sunset BoulevardSunset Boulevard - Billy Wilder - narrator. But because I’m in the business of writing things that might interest or entertain you, I am going to approach this recommendation from the following angle: Sunset Boulevard represents one of the best uses of a protagonist narrator in the past hundred years of film.

Using the protagonist as a narrator is a tactic that is abundantly present in the noir genre from which Sunset Boulevard derives many of its tropes. But this technique has varying degrees of success. Most people can name at least one use of the protagonist narrator that probably did not turn out quite like the director envisioned it (a reasonably modern example is Harrison Ford’s narration in Blade Runner, which was entirely removed from the director’s cut and final cut of the film).

When its exposition is not overbearing and obvious, the narrator’s voice can be an inoffensive tool to transition from scene to scene. What sets Sunset Boulevard so far ahead, however, is its use of the narrator (Joe Gillis, portrayed by William Holden) to support the thematic content of the film.

The nature of this article is such that it requires spoiling basic plot details of Sunset Boulevard, so you should only continue reading after this paragraph if you either do not mind spoilers or have already seen the film.

Continue reading

[Film: Sunset Boulevard, Billy Wilder, 1950]
Conflated Requiems:

The Flawless, Eery Use of the Protagonist Narrator in Billy Wilder’s Sunset Boulevard

was last modified: May 12th, 2016 by Daniel Podgorski