Future Narratives in Contemporary Fiction and Film: Challenging the Multiplicity of Alternative Possible Worlds

Capa

Citar

Texto integral

Acesso aberto Acesso aberto
Acesso é fechado Acesso está concedido
Acesso é fechado Somente assinantes

Resumo

In the 21st century narrative complexity is widespread in fiction and film, and some of these narratives can be understood within the framework of “future narratives”, as proposed by several researchers (K. Bode, F. Meifert-Menhard, S. Domsch, K. Singles). They differ from past narratives in that they problematize the fabula, the event, the concept of narration itself, and make the relationship between the actual and virtual worlds in the narrative more complex. They bet on the possibility of multiple alternative worlds, whose relations seem to be challenged and uncertain. The reader/viewer’s experience that such narratives aim to model is also specified: they problematize the image of the future narratively (not thematically), but also communicate this temporal experience to the viewer. The creation of this experience and its dynamic can be researched, among other methods, in the enactivist perspective applied by narratologists in the past decade. Future narratives produce a bodily effect that imitates non-mediation, thereby challenging the experiential dimension of the narrative. They also endow the viewer with the agency associated with the possibility/impossibility of making a choice within the narrative: interactive forms provide such a choice to the viewer directly, while non-interactive forms activate his optional and counterfactual thinking. Future narratives in fiction and film can be understood within a broader cultural context, as they are influenced by digital media. Future narratives are characterized by nonlinearity, discontinuity, and excessiveness, as well as paradoxical temporality. This results in an attempt to present a multi-faceted and uncertain future to the viewer, as well as the experience of not being able to fully realize various possibilities. At the same time, the narratives immerse the viewer in the ongoing and unfinished present, creating an experience that is both present and future-oriented.

Texto integral

Acesso é fechado

Sobre autores

Dina Shulyatyeva

Higher School of Economics

Autor responsável pela correspondência
Email: dshulyatyeva@hse.ru
ORCID ID: 0000-0001-7498-7395

Cand. Sc. in Philology, Associate Professor, School of Philosophy and Cultural Studies, Faculty of Humanities

Rússia, Moscow

Bibliografia

  1. Zheltikova I.V. Obraz budushchego [Image of the Future]. Orel: Kartush Publ., 2021.
  2. Koepnick L. O medlennosti [On Slowness], transl. from Engl. by N. Stavrogina. Moscow: Novoe literaturnoe obozrenie Publ., 2023.
  3. Fisher M. Prizraki moei zhizni: Teksty o depressii, khontologii i utrachennom budushchem [Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures], transl. from Engl. by M. Ermakova. Moscow: Novoe literaturnoe obozrenie Publ., 2021.
  4. Shulyatyeva D.V. K teorii razvetvlennogo povestvovaniya [Towards a Theory of Forking-Path Narrative]. Novoe literaturnoe obozrenie. 2024. N 186. P. 311–320.
  5. A Poetics of Unnatural Narrative, ed. by J. Alber, H.S. Nielsen, B. Richardson. Columbus: Ohio State University Press, 2013.
  6. Baroni R. The Garden of Forking Paths: Virtualities and Challenges for Contemporary Narratology. Emerging Vectors of Narratology, ed. by P. Hansen, J. Pier, P. Roussin, W. Schmid. Berlin; Boston: Walter de Gruyter, 2017. P. 247–264.
  7. Baroni R. Virtualities of Plot and Dynamics of Re-Reading. Narrative Sequence in Contemporary Narratologies, ed. by R. Baroni, F. Revaz. Columbus: Ohio State University Press, 2016. P. 87–103.
  8. Bell A. The Possible Worlds of Hypertext Fiction. Basingstoke, UK; New York: Palgrave Macmillan, 2010.
  9. Bell A., Ensslin A. “I know what it was. You know what it was”: Second-Person Narration in Hypertext Fiction. Narrative. 2011. Vol. 19(3). P. 311–329.
  10. Bell A., Ryan M.-L. Introduction: Possible Worlds Theory Revisited. Possible Worlds Theory and Contemporary Narratology, ed. by A. Bell, M.-L. Ryan. Lincoln; London: University of Nebraska Press, 2019. P. 1–44.
  11. Birke D., Butter M., Köppe T. Counterfactual Thinking — Counterfactual Writing. Berlin, Boston: Walter de Gruyter, 2012.
  12. Bode C., Dietrich R. Future Narratives: Theory, Poetics, and Media-historical Moment. Berlin; Boston: Walter de Gruyter, 2013.
  13. Cameron A. Modular Narratives in Contemporary Cinema. Basingstoke, UK; New York: Palgrave Macmillan, 2008.
  14. Caracciolo M. Tell-Tale Rhythms: Embodiment and Narrative Discourse. Storyworlds: A Journal of Narrative Studies. 2014а. Vol. 6(2). P. 49–73.
  15. Caracciolo M. The Experientiality of Narrative: An Enactivist Approach. Berlin; Boston: Walter de Gruyter, 2014в.
  16. Coover R. The End of Books. New York Times Book Review. 1992. June 21. P. 23–24.
  17. Dannenberg H. Coincidence and Counterfactuality: Plotting Time and Space in Narrative Fiction. Lincoln; London: University of Nebraska Press, 2008.
  18. Dannenberg H. Ontological Plotting. Narrative As a Multiplicity of Temporal Dimensions. The Dynamics of Narrative Form. Studies in Anglo-American Narratology. J. Pier (ed.). Berlin; New York: Walter de Gruyter, 2004. P. 159–189.
  19. Dillon S. Chaotic Narrative: Complexity, Causality, Time, and Autopoiesis in David Mitchell’s “Ghostwritten”. Critique: Studies in Contemporary Fiction. 2011. Vol. 52, Iss. 2. P. 135–162.
  20. Domsch S. Storyplaying: Agency and Narrative in Video Games. Berlin; Boston: Walter de Gruyter, 2013.
  21. Douglas J. The End of Books — or Books Without End? Reading Interactive Narratives. Ann Arbor: The University of Michigan Press, 2000.
  22. Film in the Post-Media Age, ed. by A. Pethő. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2012.
  23. Fludernik M. Second-Person Narrative As a Test Case for Narratology: The Limits of Realism. Style. 1994. Vol. 28(3). P. 445–479.
  24. Gerrig R.J. Experiencing Narrative Worlds: On the Psychological Activities of Reading. New Haven, CT: Yale University Press, 1993.
  25. Hantelmann D. The Experiential Turn. On Performativity, ed. by E. Carpenter. Vol. 1. Minneapolis: Walker Art Center, 2014.
  26. Hven S. Cinema and Narrative Complexity: Embodying the Fabula. Amsterdam: Amsterdam University Press, 2017.
  27. Hven S. Enacting the Worlds of Cinema. New York: Oxford University Press, 2022.
  28. Meifert-Menhard F. Playing the Text, Performing the Future: Future Narratives in Print and Digiture. Berlin; Boston: Walter de Gruyter, 2013.
  29. Puzzle Films: Complex Storytelling in Contemporary Cinema, ed. by W. Buckland. Chichester, West Sussex, UK; Malden, MA: Wiley-Blackwell, 2009.
  30. Richardson B. Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction. Columbus: The Ohio State University Press, 2006.
  31. Ryan M.-L. Embedded Narratives and Tellability. Style. 1986. Vol. 20, N 3. P. 319–340.
  32. Ryan M.-L. Possible Worlds, Artificial Intelligence and Narrative Theory. Bloomington: University of Indiana Press, 1991.
  33. Ryan M.-L. The Aesthetics of Proliferation. World Building, M. Boni (ed.). Amsterdam: Amsterdam University Press, 2017. P. 31–46.
  34. Ryan M.-L. Virtuality. Routledge Encyclopedia of Narrative Theory, ed. by D. Herman, M. Jahn, M.-L. Ryan. London; New York: Routledge, 2005.
  35. Shaul N.B. Cinema of Choice: Optional Thinking and Narrative Movies. New York: Berghahn Books, 2015.
  36. Shaviro S. Post-Continuity: An Introduction. Post-Cinema: Theorizing 21st–Century Film, ed. by S. Denson, J. Leyda. Falmer: Reframe Books, 2016.
  37. Sobchack V. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley; Los Angeles; London: University of California Press, 2004.
  38. Sobchack V. The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic “Presence”. Post-Cinema: Theorizing 21st-Century Film, ed. by S. Denson, J. Leyda. Falmer: Reframe Books, 2016.
  39. Vernallis C. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press, 2013.
  40. Williams L. Film Bodies: Gender, Genre, and Excess. Film Quarterly. 1991. Vol. 44, N 4. P. 2–13.

Arquivos suplementares

Arquivos suplementares
Ação
1. JATS XML
Baixar
2. Shulyatyeva D.V.

Baixar (60KB)
Metadados

Declaração de direitos autorais © Russian Academy of Sciences, 2024