- Issue
- Journal of Siberian Federal University. Humanities & Social Sciences. 2024 17 (1)
- Authors
- Ermakov, Tikhon K.; Degtyarenko, Ksenia A.; Shpak, Anna A.
- Contact information
- Ermakov, Tikhon K. : Siberian Federal University Krasnoyarsk, Russian Federation; Degtyarenko, Ksenia A. : Siberian Federal University Krasnoyarsk, Russian Federation; ; ORCID: 0000-0002-6398-0259; Shpak, Anna A.: Siberian Federal University Krasnoyarsk, Russian Federation; ; ORCID: 0000-0002-2948-8762
- Keywords
- Narrative; “The Godfather”; video game; media theory; mediality; book; film
- Abstract
Narrative is one of the most instrumental concepts of modern social sciences and humanities. By turning to the study of narrative patterns, researchers can trace historical transformations in art and culture, use hidden by the narrative meanings as an element of critical analysis, or provide applied recommendations for constructing utilitarian narratives. Using the conceptual framework of narrative analysis in conjunction with other theoretical frameworks can lead to interesting results revealing the essence of social and cultural processes. We address the problem of transformation of narratives in the context of media theory, in order to determine the nature of the influence of the information carrier on the form in which the content is presented and to determine some typical characteristics of the translation being carried out. As a theoretical basis, we use G. Pross theory of medialities, adapted to the modern landscape by G. S. Freiermuth. In the course of studying the transformation of the narrative scheme of “The Godfather” from book to film and then to the game, we identified the following pattern. Firstly, the narrative of secondary mediality has the most developed narrative grid, constructing the narrative architectonics, along which the reader can move non-linearly (although there is an optimal reading option offered to him). Secondly, tertiary mediality makes the original architectonics more linear, flattening the original narrative, which now develops in the only possible way, dictated by the deciphering device properties. Third, quaternary mediality locates its narrative patterns in the spaces between the nodes of the static narrative elements of previous medialities. The video game narrative, therefore, has not so much increased nonlinearity as new qualities of “being between” stable blocks of linear narrative
- Pages
- 42–54
- EDN
- EWCFAE
- Paper at repository of SibFU
- https://elib.sfu-kras.ru/handle/2311/152482
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0).