Advertisement

Why Story?

  • Erik Knudsen
Chapter

Abstract

This chapter will look at why we want to tell stories. Why are stories important? Indeed, why are they necessary? What is their relationship to feelings, emotions and the intellect? As storytellers, what is it we are trying to achieve by communicating from one human to another? This is such a vast subject that we shall briefly touch on it in the sense of understanding the relationship between lived experience and story structures.

Keywords

Story Narrative Feelings Emotions Story resonance Transcendental realism 

Bibliography and Filmography

  1. 10 2002. Wr/Dir: A. Kiarostami, Iran, 92 min.Google Scholar
  2. Anything Can Happen. (1995). Wr/Dir: M. Łozinski, Poland, 39 min.Google Scholar
  3. Aristotle. (1996). Poetics. London: Penguin Classics.Google Scholar
  4. Armageddon. (1998). Dir: M. Bay, USA, 151 min.Google Scholar
  5. Beker, M. (2013). The Screenwriter Activist: Writing Social Issue Movies. New York: Routledge.Google Scholar
  6. Black, J. (2013). The Sacred History: How Angels, Mystics and Higher Intelligence Made Our World. London: Quercus Editions.Google Scholar
  7. Blake, W. (2004). The Pickering Manuscript. London: Kessinger Publishing.Google Scholar
  8. Booker, C. (2004). The Seven Basic Plots: Why We Tell Stories. London: Bloomsbury.Google Scholar
  9. Brannigan’s. (2004, March). Wr/Dir: E. Knudsen, UK, 99 min.Google Scholar
  10. Bread Day. (2001). Wr/Dir: S. Dvortsevoy, Russia, 50 min.Google Scholar
  11. Bresson, R. (1977). Notes on Cinematography. New York: Urizon.Google Scholar
  12. Burnshaw, S. (1991). The Seamless Web. New York: George Braziller.Google Scholar
  13. Campbell, J. (1993). The Hero With a Thousand Faces. London: Fontana Press.Google Scholar
  14. Chatman, S. (1978). Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press.Google Scholar
  15. Coco. (2017). Dirs: L. Unkrich and A. Molina, USA, 135 min.Google Scholar
  16. Cohen, L., & Robinson, W. (2001). You Have Loved Enough (Song) from Ten New Songs, Sony/ATV Music Publishing LLC.Google Scholar
  17. Dancyger, K., & Rush, J. (2002). Alternative Scriptwriting: Successfully Breaking the Rules. Woburn: Focal Press.Google Scholar
  18. Einstein, A. (1961). Relativity: The Special and the General Theory. New York: Random House.Google Scholar
  19. Einstein, A., Podolsky, B., & Rosen, N. (1935). Can Quantum-Mechanical Description of Physical Reality be Considered Complete?. Physical Review, 48(10), 777–780. Copenhagen: N Bohr Institute for Theoretical Physics, University of Copenhagen.Google Scholar
  20. Ekman, P. (2004). Emotions Revealed: Understanding Faces and Feelings. London: Phoenix.Google Scholar
  21. Eliot, T. S. (1959). Four Quartets. London: Faber and Faber.Google Scholar
  22. Erlich, V. (1965). Russian Formalism: history, doctrine. The Hague: Mouton Publishers.Google Scholar
  23. The Gleaners and I. (2000). Wr/Dir: A. Varda, France, 82 min.Google Scholar
  24. Field, S. (1998). Screenplay: The Foundations of Screenwriting. New York: Bentham.Google Scholar
  25. Grodal, T. (2009). Embodied Visions: Evolution, Emotion, Culture and Film. Oxford: Oxford University Press.CrossRefGoogle Scholar
  26. Heart of Gold. (2006). Wr/Dir: E. Knudsen, UK, 40 min.Google Scholar
  27. Hogan, P. C. (2003). The Mind and Its Stories: Narrative Universals and Human Emotion. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  28. Hush! (2003). Wr/Dir: V. Kassakovsky, Russia, 82 min.Google Scholar
  29. In The Dark. (2004). Wr/Dir: S. Dvortsevoy, Russia, 41 min.Google Scholar
  30. de Jong, W., Knudsen, E., & Rothwell, J. (2012). Creative Documentary: Theory and Practice. London: Pearson.Google Scholar
  31. Jung, C. G. (1972). Four Archetypes. London: Routledge & Kegan Paul.Google Scholar
  32. Jung, C. G. (1961). Modern Man in Search of a Soul. London: Routledge.Google Scholar
  33. Kallas, C. (2010). Creative Screenwriting. London: Palgrave Macmillan.CrossRefGoogle Scholar
  34. Knudsen, E. (2010). Zen and the Art of Film Narrative: Towards a Transcendental Realism in Film. Journal of Screenwriting, Intellect, 1(2), 343–356.CrossRefGoogle Scholar
  35. Koestler, A. (1964). The Act of Creation. London: Macmillan.Google Scholar
  36. Lady and the Tramp. (1955). Dirs: C. Geronimi, W. Jackson and H. Luske, USA, 76 min.Google Scholar
  37. Lee, J. (2013). The Psychology of Screenwriting: Theory and Practice. London: Bloomsbury.CrossRefGoogle Scholar
  38. McKee, R. (1999). Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: Methuen.Google Scholar
  39. One Flew Over The Cuckoo’s Nest. (1975). Dir: M. Forman, USA, 133 min.Google Scholar
  40. Quince Tree Sun. (1992). Wr/Dir: V. Erice, Spain 1992, 173 min.Google Scholar
  41. The Raven On The Jetty. (2015). Wr/Dir: E. Knudsen, UK, 88 min.Google Scholar
  42. Rukeyser, M. (1971). The Speed of Darkness. New York: Vintage.Google Scholar
  43. Schrader, P. (1972). Transcendental Style in Film: Ozu, Bresson, Dreyer. Los Angeles: University of California Press.Google Scholar
  44. Shakespeare, W. (1963). Hamlet. New York: Signet Classics.Google Scholar
  45. Sheldrake, R. (2009). New Science of Life. London: Icon Books.Google Scholar
  46. Silence. (2016). Wr/Dir: M. Scorcese, USA, 161 min.Google Scholar
  47. The Silent Accomplice. 2010. Wr/Dir: E. Knudsen, UK, 74 min.Google Scholar
  48. Stalker. (1979). Wr/Dir: A. Tarkovsky, Russia, 162 min.Google Scholar
  49. Still Life. (1974). Wr/Dir: S.S. Saless, Iran, 93 min.Google Scholar
  50. Suzuki, D. T. (1996). Zen Buddhism: Selected Writings. New York: Image.Google Scholar
  51. Todorov, T. (2018). The Fantastic: A Structural Approach to a Literary Genre. Ithaca: Cornell University Press.Google Scholar
  52. Tokyo Story. (1953). Wr/Dir: Y. Ozu, Japan, 136 min.Google Scholar
  53. Uzak. (2002. Wr/Dir: N.B. Ceylan, Turkey, 105 min.Google Scholar
  54. Vainilla Chip. (2009). Wr/Dir: E. Knudsen, UK, 17 min.Google Scholar
  55. Vogler, C. (2007). Writer’s Journey: Mythic Structures for Writers. New York: Michael Wiese Productions.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Erik Knudsen
    • 1
  1. 1.University of Central LancashirePrestonUK

Personalised recommendations