What are the narrative structures in the film?

1, causal (dramatic) linear structure. Taking the causal relationship of the story as the narrative motive force, dramatizing the story in linear time (less flashback and narration), with a single narrative chain (no juxtaposition, contrast and polyphony, but the story can develop with multiple clues), pursuing a complete ending with interlocking plot structure and strict logic, and emphasizing external conflicts and action intensity.

Such as life and death choices, last-minute rescue and other climaxes. Most traditional films belong to this category, and their classic plot structure strengthens "illusion reality" and "empathy" and confuses the audience into the play, such as Flying over the Mountain and True Lies.

2. Ring jacket structure. Taking multi-layer narrative chain as narrative power and circulation in time direction as the leading factor (nonlinear development), it plays down the plot process and highlights the narrative mode, and the significance lies not in the story, but in the narrative. It mobilizes the audience to participate in the construction of meaning, replaces the empathy of the former with rational thinking, and does not give a definite ending and meaning, such as Rashomon, French Captain's Woman and Lola Run.

3. Conjugated block structure. There is no clear time linear story development and causal relationship, and there is no coherent and unified plot main line and drama conflict focus. It is composed of narrative fragments that disrupt time and space, and there is centripetal force between each fragment or mass, forming a prose structure of "scattered form and concentrated spirit" or a poetic structure of juxtaposed images.

It does not win by plot and philosophy, but by images, such as Old Things in the South of the City, Spring in a Small Town and Pietro the Madman.

4. Interlaced control structure. By combining more than two narrative chains (not just two story clues) to form a contrasting tension movement and construct a polyphonic theme, its causal relationship and dramatic linear narrative still exist, but it is more complicated. It combines empathy illusion and philosophical thinking, such as Lao Jing and Anna karenin.

5. Fantasy polyphonic structure. With dreams and hallucinations as the main narrative links and contents, dialogues and conflicts are formed with more than two narrative keys, physical time and space are transformed into psychological time and space, and multiple dialogues (people, people and themselves, characters and narrators, characters and audiences) form dialogue carnival, such as Wild Strawberries, Eight and a Half, and Dreams.