When I heard it a handful of years that would make writing classes in college, my first concern was to bring the examples to help me explain the resources, techniques, types and classifications that my students had any idea of \u200b\u200bwhat was going to explain. Without doubt the best universe to understand the writing was on the literature, but after a few classes I realized that twenty years without a solidified medium base, lean on the classics and contemporaries was a huge mistake. The students had read very little when wearing school uniform.
Then I looked for an alternative, a safety valve that would serve me well to alleviate the gap left by the little habit of reading as to energize a class that would sin no examples of bland and abstract. And there it was. The solution to the problem was in the seventh art. Language film. Since then, the classes worked, because in addition to the thousands of readings required to read the students to develop the classes, so I relied on traditional film Pulp Fiction by Quentin Tarantino, of Alfred Hitchcock's Vertigo or The Sixth Sense M. Night Shyamalan, the film narrative that captivated me at the time.
remember Shyamalan film I could not see at the cinema for a trip I made to Germany and I had me a DVD months later to enjoy it. However, when he was almost half the movie in the comfort of my home, my brother appeared that there I had sworn the last row for some, and let me go so, point blank, that Dr. Malcolm Crowe (Bruce Willis) was dead. And my sisters, laughing wildly, they told me better not continue watching because I had marred the "best of the film." Of course I ignored them and enjoyed the most, with the hair that I bristled at the end despite the data previously revealed.
My enjoyment of the film as much as the literature does not focus only on the story of history. Enjoy only the narrative sparks would distort the meaning and background. Throw away the management, installation, photography, both same as saying that a writer has good books about how ignoring the focus and direction, which ultimately wants to convey.
In a previous post was already talk of the importance of both its form and substance. That success story is just in knowing compose a work without diminishing any of the parties. Which is often not taken into account when watching a movie. It turns out that when we are talking about the plot of a tape and there is someone who still has not seen, it is rude to count the final walk. Doing so would commit a grave offense to the point that many prefer to go and see her no more. Staying with the win.
So I think it unfair to say that The Sixth Sense is a good film thanks to a close. Is good or bad for the whole, and not only by the narrative device. I liked when I saw it. But would not put either of my favorites. Because its final throws overboard the previous work. This is one case where the final opaque to the rest of the film. It's definitely a film that fits into a post that has been called Alberto Servat movie Final. However, the long list of proposals from both the critics and readers, for me the best advantage he brings to the narrative strategy for the whole story is Citizen Kane by Orson Welles . The "coup de scene" [1] of this film is important to understand the core of the plot (figure out the meaning of the word "Rosebud", which can only be known at the end by the viewer), so different from Shyamalan that, by contrast, ends up becoming the same core.
narrative techniques, perfectly brought the film to storytelling, they are resources that use those who have not the central themes of the story. Something like a component of the whole, as in the case of Welles is a more like the use of camera movements, depth of field, the ceilings in the set, etc. That is why no one should expect a movie or a novel to be successful if you plan to leave all this weight only in the art.
course, in the case of The Sixth Sense, the technique is totally contrived to the point that launched the famous director, an Oscar nomination and he expected further successes like this. However, this appeal has ended up becoming a double-edged sword because that from this tape, viewers have come to expect from their other films (namely Unbreakable, Signs or The village ) an emotional wallow and desencajante as in the first, never reach the fence and instead, creating a deep disappointment in his followers.
There is a saying that everything in excess is bad, and this fits like a glove. For Shyamalan, the technique became their brand image to the point that had to resort to it in their next job without the success of the first. Other directors like Alejandro Amenábar also used the same technique on more than one film, but with a prolonged period of time between them, as in Thesis (1996) and five years later in The other, without being qualified as a director of applications repetitive because in his next film Mar adentro did not use it. Among the many other hit movies with my favorite scene, plus I stay Citizen Kane - with others like Vertigo, The Fight Club's David Fincher and Common Suspects Bryan Singer [2] .
And as the coup de scene, there is another narrative technique that has become fashionable in cinema in recent times, but, as you said Servat in some of the responses to comments from their readers, as old as the silent cinema, and is called "communicating vessels" [3]. And here I Shyamalan's error, this time in the hands of Mexican director Alejandro González Iñárritu with his so-called "trilogy" Amores perros, 21 Grams Babel and . In each of them different stories that intersect with the fate and chance. In that order, each one was falling for the crass error of repeating the same theme. Becoming copies of themselves. And connoting, which need not be the reality, which are directors who have given all they could give. ----------------------------------------------
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[1] The scene is a stroke technique narrative is the twist that the story suffers when the denouement. The intention of this technique is to reveal something that the reader did not expect, because the narrator has known throughout history create you an atmosphere that was contrary to the final. [2] If you want a really long list of films that employ this technique suggest reading the post for Servat. [3] A wonderful counting and analysis of this technique makes Mario Vargas Llosa in his book Letters to a novelist . And what stories can be summarized as different from each other are a point that unites them and makes the reader understand the relationship between each of them.
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