This essay will analyze and evaluate the devices and strategies of narrative discourse used in a twenty-five-page extract from the Screenplay, Burning Heart, including its function within the context of the full screenplay. Consideration will be given to where it fits within the broad genre of action adventure and its many subgenres, the ways in which it either conforms to or subverts genre expectations and how this, or any other factors effects the use of story space in communicating meaning through both visual and verbal narrative including the use of mise-en-scene and the use and juxtaposition of space and environments to create meaning and re-enforce binary opposites found within the genre conventions, for example good v evil, and within the discreet text, heterosexuality v homosexuality. The choice of perspective, will be considered as will the use of largely heterodiegetic narration, although some deliberate ambiguity remains. 

The screenplay follows the format of a three-act structure (Field, 2003) the extract being the first act and part of the second. The protagonist, Laura, is first seen in the familiar setting of her local fencing club. The equilibrium is disrupted (ibid) by the appearance of Jane with disturbing news about the death of Laura’s brother, Damon, some 8 years earlier. Jane’s violent death eight minutes into the screenplay could be considered an inciting incident (ibid), but as Laura is not aware of this until much later in the story it has no immediate effect on her actions. A value charged turning point is reached when Laura learns of her trial for the British team. However, the first major turning point, that has a profound effect on Laura’s life and signals the end of Act 1, comes after twenty minutes, when Laura earns her place on the British fencing team. She walks out of her Job and leaves home to begin her quest to become Olympic champion. The extract displays the codes and conventions associated with the Monomyth, the Hero’s Journey (Campbell, 2008), the template used for classic action adventure films including Star Wars: Episode V - The empire strikes back (Irvin Kershner, 1980) and Raiders of the Lost Ark. (Stephen Spielberg, 1981) The characters we meet in this extract include, Laura, the Hero; John, initially the Antagonist but becomes the Despatcher; Jane, the Herald who’s message will eventually send Jane on her parallel journey to find her brother’s killers, and like Campbell’s Herald once her role is fulfilled she is of no further use; Antonio and Don Carloni are protagonists Laura will meet later in the story; Antonio also plays the role of mentor; Chris is the first protagonist; she meets after her call to adventure; Bill is the Mentor and later the Father; Amy and John are Guardians of the First Threshold, ensuring Laura has everything she needs for the journey; John is also a Donor; Emma is a protagonist and later a Donor; The opposing teams fencers, in particular the Russians, are protagonists. Beth is the Princess.

The concept of genre in western society originates in ancient Greece with Plato and Aristotle. Genette (1992) in describing this early concept of genre suggested that ‘…its structure is somewhat superior to…those that have come after’ (p 74) which he proposes are flawed by their ‘hierarchal taxonomy’ (ibid.) Devitt (1993) suggest ignoring restrictions placed on genre by historical classification and viewing genre as a rhetorical device which allows for greater choices. Mckee (1999) supports this argument by suggesting that the modern system of genre classification is ‘…evolved from practice not from theory’ which ‘turns on the differences of subject setting role event and value.’ (p.80) He further suggest that this classification although comprehensive is not rigid but ‘evolving and flexible’ and that genres ‘…often overlap and merge with one another’ (ibid p 86). Burning Heart can be classified primarily as action adventure film and the codes and conventions of this genre are displayed and re-enforced by the narrative devices used to tell the story. The emphasis is on action rather than dialogue which is illustrated in the scene in the coffee bar when Laura calls to collect her wages. Instead of responding to Chris’s taunting with pleas or demands, she uses action. The visual imagery that results is far more powerful particularly in exposing character. Her only word of dialogue in the scene is ‘Arsehole’. This use of action rather than dialogue is typical of the genre. The use of ellipsis in narrative discourse to maintain a fast pace, also genre typical, is used appropriately throughout the extract. Even in scenes where the atmosphere is contemplative and the pace slower, unnecessary dialogue and action is omitted. When Laura and Jane decide to leave the café, we next see them outside. We don’t need to watch them put on their coats and walk to the door. However, the extract also displays codes of other genres and sub genres that ‘overlap and merge with one another.’ (ibid p86) including: Quest, Laura’s journey to win Olympic gold and find her brother’s killers; Mystery, the burning heart symbol; Detective fiction, finding her brother killers Conspiracy, the secret society; Romance, her relationship with Beth. This highlights the two key areas where the codes and conventions of the genre are subverted. A female antagonist and her sexuality. Popular high profile films in this genre with a female protagonist are rare, but include Laura Croft’s character played by Angelina Jolie in Tomb Raider, (Simon West, 2001) and, if one stretches genre boundaries, Thelma and Louise (Ridley Scott, 1991). These films also share common values and themes, the positive representation of women, and their struggle to against power and authority in a male dominated society. The fencing tournaments provide a setting for the story to unfold as Laura battles to achieve her goals and highlight the binary opposites of sport and combat, symbolized by the Russians fighting style. It can also be included and in the Sports genre because the rules and techniques are explained in the early scenes of the screenplay so that the audience can appreciate and understand the significance of the action, especially the technique of disengaging, which Laura uses effectively to defeat her opponents and achieve her goal. The Karate Kid (John G Alvidsen, 1984) uses a similar narrative device.

The function of the extract is to introduce the main characters and establish their types, round or flat, and the roles they play in Laura’s story, as described earlier the Hero’s Journey. In particular, we see her fighting spirit and growing confidence as she challenges and prevails over male dominated power and authority, a theme, woven into the screenplay and reflecting its ideology. It establishes the main premise of the story, Laura’s quest for Olympic gold, and introduces the first subplots, the secret society searching for Damon’s diary, the relationship with Beth, the rivalry with Emma. the search for a mysterious book by members of Damon’s a fencing club. It foreshadows later events and creates set ups for later payoffs including the importance of the disengage in fencing techniques, Antonio’s concern over events discussed with Don Corlino and Laura’s anger when her mum defends her father who deserted them. It also creates mystery intrigue and suspense: Why was Jane killed and by whom? Who are Antonio and Don Corlino? What is the significance of the burning heart symbol and the diary? Will Laura earn her place on the British team? 

When considering perspective, Gennette (1980), poses the question ‘…[W]ho is the character whose point of view orients the narrative perspective? and the very different question, who is the narrator? …who sees?…who speaks?’ (p186). He suggests that this is ‘…[An] apparently obvious but almost universally disregarded distinction.’ (ibid). To describe this distinction, Porter Abbott (2009), recommends the use of the term focalization ‘ [F]or that complex of perspective, position, feeling and sensibility… that characterizes our visual purchase on the narrative.’ (p240) In burning heart the story is focalized on Laura, it is from her prospective that the story is told and that the actions of the other characters are orientated. The story is focused on Laura achieving her goals, and exploring her moral dilemmas, sexuality, thoughts and feelings. The actions of the other characters are only seen in relation Laura. Porter Abott (2009) goes on to recommend the term voice ‘…[F]or the narrative voice that we hear.’ (p 240) In the extract form Burning Heart, deliberate ambiguity is caused by the framed narration at the beginning. Is this unknown narrator the one telling the story from some undisclosed discourse space? If so, who is the perceived narratee? In this case the narration would remain extradiegetic. However, the narration suggests that the narrator may later be revealed to be a character in the story, or at least be able to influence events rather than simply observing and re-telling. ‘…but I swear when the time comes to face the evil, she will not face it alone.’ In this case the narration would become intradiegetic. However, the apparent omniscience of the narrator, his ability to observe all the events in the story space outside the experience of any character within it, would signify that the narrator is the author of the screenplay, in which case the perceived narratee is the reader of the screenplay and the narration heterodiegetic. This use of ambiguity and parallel narration is used effectively in New York Trilogy (Auster, 1985), raising questions of reliable narration and ‘the relationship of a text to reality’ (Gioia 2017)

Cobley (2005), suggest that ‘Both Plato and Aristotle considered drama to be a mimetic art,’ as opposed to ‘lyric poetry’ which was seen as ‘representative art, narrated in the poets own voice‘ (Cornford 1945, p82 cited in Cobley 2005, p61)

Films therefore are intrinsically memetic but can include diegetic elements. For example, the intradiegetic narrator played by Morgan Freeman in The Shawshank Redemption. (Darabont,1994). In Burning Heart, the framed, narration in discourse space at the beginning is diegetic. This separation of visual and verbal into discreet forms differs from the ‘show don’t tell’ mantra expounded by Hollywood gurus like Robert Mckee (1999), which describes best practice for memetic narration in story space, but could apply to excessive diegetic narration in discourse space. This is illustrated in Burning Heart when the device of a class of new members is used to demonstrate detailed information on fencing rules, etiquette and techniques that will allow the audience to better appreciate later action. Dr. Watson’s lengthy monologue to tell Holme’s back story in The Adventures of Sherlock Holmes, episode 1, A Scandal in Bohemia (ITV 1984) is an example of telling rather than showing. The use of flashback images to accompany the narration would have provided a more interesting experience for the audience. 

The environments created in the story space by the mis-en-scene, lighting, music , camera angles and scene changes, support the action and dialogue to create mood, convey meaning, expose character, and move the story forward. Although some of these elements, such as camera angle and music, are often outside the remit of the screenwriter, he can suggest these through dialogue and the description of action. How this is achieved in Burning Heart can be seen on these early scenes. Jane comes from somewhere dark and miserable (a rain swept street at night) which reflects her mood and the dark message she brings with her, the evil that stalks her. and foreshadows her death. This contrast with the brightly lit gymnasium she enters and Laura’s white clothing suggesting innocence, optimism and openness. The welcoming lights of the café in the dark windswept street suggest comfort and safety from the danger and loneliness lurking outside. This intentionally references The Nighthawks (Edward Hopper 2017). The suggested matched cut from the car that kills jane to another car in a dark tunnel suggests a link between the two. The dark conversation in the bright sunshine and beautiful scenery suggest that evil intentions are hidden behind an innocent facade. 

Language is used appropriately for characterization and genre. Bill’s, clipped military tone and speech patterns, ‘OK, listen up,’ reflect his military background, northern roots and job as team manager. Language is also used to reflect the character’s mood and circumstances. When Emma feels threatened by Laura her manner becomes aggressive and defensive. ‘…but don’t get in my way, understand?’ Dialogue is used sparingly which reflects both the genre and the nature of the main characters. Elite sports people, members of a secret society and trained killers are all used to expressing themselves in action rather than words. As well as the overt meaning of language, subtext is used to suggest other meanings leading to further action. For example, when Laura says ‘What do boys always want’ in response to Beth’s question after Michael propositions her, it suggests to Beth that is not what Laura wants, and encourages her to visit Laura’s bedroom later that night. 

I believe this extract from Burning Heart displays a sound knowledge of narrative structure and discourse which is used in an appropriate and creative manner and achieves its function to entertain, educate and stimulate the audiences desire to see the rest of the story.