Film style and narration in Rashomon
UPDATE: 13 April 2014: The revised version of this article has now been published as Film Style and Narration in Rashomon, Journal of Japanese and Korean Cinema 5 (1-2) 2013: 21-36. DOI: 10.1386/jjkc.5.1-2.21_1.
A post-print of the article can be downloaded here: Nick_Redfern – Film style and narration in Rashomon (post print)
And so after a long (and much enjoyed break) I return to the blogosphere with the first draft of paper on film style and narration in Rashomon. This paper is different to other statistical analyses of film style I have published on this site and to all other studies of film style and narration because it uses multivariate analysis to look at several different aspects of film style together. The method used is multiple correspondence analysis, and you can find a good introductory chapter on MCA here. The software I used is FactoMineR for R, and the website explaining how to do the analysis can be found here.
Multivariate analysis has been used in the quantitative study of literature for some time (see the links below the abstract), but this is the first time multivariate analysis has been applied to film style and it appears to work very well. I am currently looking at some other applications, particularly in distinguishing between the different parts of portmanteau horror films (which is a proper scholarly endeavour and not simply an excuse to watch lots of portmanteau horror films).
An Excel file contain the data used in the analysis can be accessed here: Nick Redfern – Rashomon. This file contains two worksheets: the first is the shot length data for the film, and the second is that data used in the multiple correspondence analysis.
This article analyses the use of film style in Rashomon (1950) to determine if the different accounts of the rape and murder provided by the bandit, the wife, the husband, and the woodcutter are formally distinct by comparing shot length data and using multiple correspondence analysis to look for relationships between shot scale, camera movement, camera angle, and the use of point-of-view shots, reverse-angle cuts, and axial cuts. The results show that the four accounts of the rape and the murder in Rashomon differ not only in their content but also in the way they are narrated. The editing pace varies so that although the action of the film is repeated the presentation of events to the viewer is different each time. There is a distinction between presentational (shot scale and camera movement) and perspectival (shot types) aspects of style depending on their function within the film, while other elements (camera angle) fulfil both these functions. Different types of shot are used to create the narrative perspectives of the bandit, the wife, and the husband that marks them out as either active or passive narrators reflecting their level of narrative agency within the film, while the woodcutter’s account exhibits both active and passive aspects to create an ambiguous mode of narration. Rashomon is a deliberately and precisely constructed artwork in which form and content work together to create an epistemological puzzle for the viewer.
On the multivariate analysis of literature see the following:
Hoover DL 2003 Multivariate analysis and the study of style variation, Literary and Linguistic Computing 18 (4): 341-360.
Stewart LL 2003 Charles Brockden Brown: quantitative analysis and literary style, Literary and Linguistic Computing 18 (2): 129-138.
Tabata T 1995 Narrative style and the frequencies of very common words: a corpus-based approach to Dickens’s first person and third person narratives, English Corpus Studies 2: 91-109.
Posted on March 21, 2013, in Cinemetrics, Film Analysis, Film Studies, Film Style, Japanese Cinema, Multivariate statistics, Narrative, Narrative Cinema, Statistics, Time Series Analysis and tagged Cinemetrics, Film Analysis, Film Studies, Film Style, Japanese Cinema, Multivariate statistics, Narrative, Narrative Cinema, Statistics, Time Series Analysis. Bookmark the permalink. 2 Comments.