Achieve nonlinear storytelling in a documentary - Sequences

Citation:

• Bernard, S. C. (2016). Documentary storytelling: Creative nonfiction on screen (Fourth ed.). Focal Press. https://doi.org/10.4324/9780203756317

Annotation:

• In Chapter 12, the author introduces a critical concept: "Sequence."  A sequence denotes the cohesive integration of narrative segments, which collectively form the chapters of a story, thereby establishing its overarching structure.  Sequences serve not only as a narrative organization tool but also facilitate a deeper comprehension of thematic development and narrative coherence among audiences.
• The adept combination of sequences can profoundly influence the rhythm, tone, and emotional resonance of a film.  Through artful sequence juxtaposition, filmmakers can construct an entirely new narrative trajectory that captivates viewers, offering them novel insights and emotional engagement.
• 在第12章中，作者介绍了一个关键概念:“序列”。序列指的是叙事片段的紧密结合，它们共同构成了故事的各个章节，从而确立了故事的总体结构。序列不仅可以作为叙事组织工具，还可以促进观众对主题发展和叙事一致性的更深层次理解。
• 熟练的序列组合可以深刻地影响电影的节奏、基调和情感共鸣。通过巧妙的顺序并列，电影人可以构建一个全新的叙事轨迹，吸引观众，为他们提供新颖的见解和情感投入。

Film Citation:

• Marsh, J. (Director). (2008, January 22). Man on Wire. Icon Film Distribution，Magnolia Pictures.

Squenece 1: Planning and Preparation Phase (Background)

Squenece 2: Repetition of the implementation process (deduction, historical restoration)

Squenece 3: The impact of action (arousing the audience's desire to discuss)

Annotation:

• In "Man on Wire," the director employs three distinct sequence chapters to narrate the story: the historical background, the historical reenactment, and the social impact.  Each sequence unfolds multiple layers of narrative content. This multi-layered approach not only vividly reconstructs Philippe Petit's extraordinary feat but also leverages different perspectives and temporal frameworks to offer the audience a comprehensive understanding of the event's context, execution, and aftermath.  This sequence structure enhances the film's narrative depth, allowing for a more profound audience engagement and comprehension of the overarching theme.
• 关于《Man on Wire》，导演通过三个序列章节来讲述故事，分别是历史背景介绍、历史重演和社会反响。每个序列都展示了多个层面的叙事内容。这种多层次的叙事不仅生动地再现了菲利普·波蒂的壮举，还通过不同的视角和时间段的安排，使观众能够更全面地理解这一历史性事件的背景、实施过程和后续影响。这种序列组合不仅增强了影片的叙事深度，也使观众能够更加深入地体验和理解主题。

Test In My Film：

Squenece 1: Diary content (true record from subjective perspective)

Sequence 2 : Non-diary content (Real conversation from an objective perspective - flashback)

• In my film, I have divided the story into two sequences: diary content and non-diary content.  These sequences represent distinct perspectives.  In the first sequence, the audience is presented with my subjective viewpoint, while the second sequence provides a more comprehensive understanding, thereby elucidating the rationale behind my earlier subjective actions.
• As Bernard and Sheila Curran discuss in their book, filmmakers can construct a novel narrative trajectory through the adept combination of sequences.  In this context, I conducted an experiment employing nonlinear storytelling to present the content of the second sequence.  
• When I put down the diary, the alternate sequence begins, and the film's timeline rewinds to the moment of my initial return home.  Utilizing flashbacks, the audience can discern that my prior, biased depictions of my father and family were prejudiced.  In retrospect, it becomes evident that my journey was propelled by a deep-seated attachment to home.  The demands of busy lives often lead family members to neglect each other's emotions and needs, resulting in misunderstandings and estrangement.  Through the integration of nonlinear narrative sequences, the audience is afforded a multidimensional view of the story's progression and an opportunity to reflect on the modes of communication and connection within familial relationships.
• 在我的影片中，我将故事分为两个序列：日记内容和非日记内容。这两种序列代表着两种不同的视角。观众会在第一个序列中看到我在主观视角下的看法，同时在第二个序列中看到更全面的信息，从而帮助观众理解之前的主观性做法。
• 结合Bernard和Sheila Curran在书中提到的，通过巧妙的序列组合，电影人可以构建一个全新的叙事轨迹。在这里，我做了一个测试，通过非线性叙事的方法来呈现第二个序列的内容。
• 当我放下日记时，另一个序列便开始了，影片时间也倒回到我刚回国的时候。通过倒叙的手法，观众可以理解之前我对父亲和家人的偏激描述实际上是带有偏见的。事实上，回望这段旅程，引领我前行的始终是对家的执念。家人在忙碌的生活中忽略了彼此的感受和需求，导致了误解和隔阂的产生。通过非线性叙事序列的组合，观众可以多维度地看到故事的发展以及思考家人之间沟通和交流的方式。