Contrasting narratives

Experimental narrative should not be confused with the more specifically nonnarrative experimental film or video. The experimental film or video is often entirely taken up with an issue of style. In the extreme (in more than one Norman McLaren film, for example), the film can concern itself with the variations of movements of abstract lines or shapes. In McLaren s films, line or shape give a visual dimension to an abstract musical piece. The narrative intention is at best remote more often in such work, it is not even a factor. In the experimental narrative, in contrast, narrative intention does have a role. However, the form or the style of the piece is as important as—in some cases more important than—the narrative. 

This ako means that you, as the filmmaker, are letting the contrasting narratives speak for themselves, and trusting audience members to make up their own minds. 

Even if invariants and operation specifications will not be formalized, you can concisely define the terminology of types and attributes and consequently of operation requirements. Contrast the following updated informal operation specifications with the ones we started with. (Which is worse reams of ambiguous narrative, or tomes of formal or pseudoformal syntax with no explanatory prose )... 

In this chapter we have heard different accounts of the ways psychotropic drugs affect users senses of themselves. In some cases medication allowed people to realize their authentic selves or to function at a higher level. In this sense their narratives are success stories, even miracles. In other cases, by contrast, people described psychiatric drugs as masking or even devastating their authentic selves. As a result they were typically resistant to or ambivalent about medication. 

To improve your assessments. In contrast to the physician s view, you may have a differing opinion about the importance of using the Diagnostic and Statistical Manual of Mental Disorders (DSM) criteria as the primary means to assess and treat the patient. Most physicians rely on the DSM criteria to make a diagnosis. Their specific diagnoses often lead, naturally, to specific psychotropic medication recommendations. In this way, assessment by a physician may be more specific and, at times, more reductionistic than an assessment by a therapist, who, for example, might prefer a narrative of the patient s complaints. 

Am I satisfied with the organizational strategy I selected for my purpose (For example, would an essay primarily developed by comparison and contrast achieve your purpose better than a narrative approach )... 

In contrast to Boerhaave, Georg Ernst Stahl has always been a major protagonist in the Chemical Revolution narrative. But, perhaps because his role has been essentially that of a fall guy, his chemistry has not received nearly the historical consideration... 

Systematic reviews are recent additions to the medical literature. In contrast to traditional narrative reviews, these reviews aim to answer a precisely defined clinical question and to do so in a way that is transparent and designed to minimize bias. Some of the defining features of systematic reviews are (1) a clear definition of the clinical question to be addressed, (2) an extensive and explicit strategy to find ail studies (published or unpublished) that may be eligible for inclusion in the review, (3) criteria by which studies are included and excluded, (4) a mechanism to assess the quahty of each study and, in some cases, (5) synthesis of results by use of statistical techniques of meta-analysis. By contrast, traditional reviews are subjective, are rarely well focused on a clinical question, lack explicit criteria for selection of studies to be reviewed, do not indicate criteria to assess the quality of included studies, and rarely can use meta-analysis. 

On one level, the writer must keep a playful attitude toward character. The man in Autumn Moon is depressed, and yet the way the writer-director works with him produces an appealing side to him. It is important that the female character is different from him in the story the larger the contrast, the better. In Autumn Moon, that character is a girl, 15 years old, as unspoiled as the man is spoiled. The larger the gap, the more play enters the narrative and the more creative the writer can be. 

That the violent history of racial slavery is described as a weight bearing down upon the author is indicative. Personal experience, spirit, authenticity, a humanity beyond race operate at the core of existence all are sharply contrasted to the historical externality of race. As is the case across the literature of multiracialism, race is demoted to the level of framing narrative in relation to some more immediate and essential individual story. Depicted as a glancing blow across the deep origins of this intimate connection, racial difference neither defines the relationship nor even substantially [changes] it. ... 

Most importantly, the stories should inform each other, meaning that at some point they should connect to form a coherent whole and advance a single overall story line. Yosemite The Fate of Heaven, for example, contrasts the primeval Yosemite that survived until the 19th century with the national park that today accommodates several million visitors a year. The filmmakers interweave two stories, one more clearly narrative than the other. The first is built around an 1854 diary kept by Lafayette Bunnell, who was part of a battalion that entered Yosemite on an Indian raid. The second is a more impressionistic look at the ongoing, day-to-day struggle to balance use of the park by those who love it with the needs of those who maintain it and are working to preserve it for the future. 

You ve said that for you, "truth resides in contrasting ground level narratives—and amplifying the voices of the people truly involved."... 

The contrast between the public newspaper photographs, which are a visual history of institutionalised patriarchy, and Woolf s memories of absent photographs is emblematised in two very different narrative modes. 

Perhaps the crucial difference between At the Inland Sea and Eleven Vests and Have I None is the context in which setting, characterisation and narrative are delineated and explored. In Eleven Vests, Bond revisits familiar thematic territory in interrogating with its attendant criminality contrasts with the ideologically legitimised violence of soldiers murdering enemy hostages. 

By contrast, I have always regarded natural history expansively and seamlessly as a long and continuous narrative not only incorporating the origin and evolution of a wide spectrum of ordered structures, but also connecting many of them within an overarching framework of understanding. 

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