Abstract
A characteristic trait of human interaction is arguably our engagement with narratives. We are surrounded by stories in the guise of fiction, non-fiction, and poetry. This thesis explores how and why we become ‘transported’ into fictional narratives – how and why we get carried away and become lost in the fiction, despite being fully aware that it is all ‘make believe’. The pivot point for discussion is the Hollywood film tradition and the influence of its Continuity Editing System. The thesis clarifies the impact of this system on filmic storytelling and how it affects narrative transportation and verisimilitude in filmic experience. Further, the thesis is focussed on the relation between narrative transportation and verisimilitude as well as sound/non-diegetic music in film. The main part of the thesis is a theoretical discussion of a selection of central technical and aesthetical means in film production. The theoretical part is complemented by an empirical case study that – designed around an original video production – poses the following hypothesis: A congruent and coherent underscore, abiding by the rules of continuity editing, enhances narrative transportation and supports the impression of verisimilitude in a filmic narrative. The case study finds to a certain extent support for this hypothesis.
A characteristic trait of human interaction is arguably our engagement with narratives. We are surrounded by stories in the guise of fiction, non-fiction, and poetry. This thesis explores how and why we become ‘transported’ into fictional narratives – how and why we get carried away and become lost in the fiction, despite being fully aware that it is all ‘make believe’. The pivot point for discussion is the Hollywood film tradition and the influence of its Continuity Editing System. The thesis clarifies the impact of this system on filmic storytelling and how it affects narrative transportation and verisimilitude in filmic experience. Further, the thesis is focussed on the relation between narrative transportation and verisimilitude as well as sound/non-diegetic music in film. The main part of the thesis is a theoretical discussion of a selection of central technical and aesthetical means in film production. The theoretical part is complemented by an empirical case study that – designed around an original video production – poses the following hypothesis: A congruent and coherent underscore, abiding by the rules of continuity editing, enhances narrative transportation and supports the impression of verisimilitude in a filmic narrative. The case study finds to a certain extent support for this hypothesis.