"Barriers to Closure" was a series of narratives specifically focusing on reoccurring thoughts, fears and anxieties within the artist's life. Instilled when he was younger, these anxieties were never resolved, thus creating additional fears as he grew into adolescence. Eventually they transformed into an intricate obstacle causing resolution to be a difficult task.These narratives are presented in thick bronze frames which constrain the content into a limited space. The pieces are purposefully small due to the artist's personal restriction of revealing what needs to be seen. Therefore, the viewer must draw closer to the piece in order to view the information presented and relate the body of work to their own hidden fears.This exhibition provided an outlet for the artist to deal with feelings that are difficult to explain/express. Communicating these anxieties through this series of visual narratives, assisted the artist in resolving many personal conflicts. / Department of Art

Thesis (MDram)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

This study presents an investigation into the process of constructing an autobiographical self within the genre of the autobiographical picture narrative, and explores this process both in terms of a theoretical study of this concept as well as an interpretation of a number of photographs. The interpretation entails a reading of selected autobiographical picture narratives by the artist-photographers Maggie Taylor and Lori Nix by means of a method derived from visual social semiotics. Specifically, the semiotic reading focuses on Taylor and Nix’s photographs Twilight swim (2004) and Ice Storm (1999), respectively, after which the researcher’s own autobiographical photograph entitled Fennel and coriander is read by means of the same methodological approach. The semiotic reading is guided by five salient characteristics of the autobiographical picture narrative, namely fabrication and reality, autobiographical memory, socio-cultural relevance, commonalities in female narration and narrative function. Harrison’s (2003) visual social semiotic framework (which reflects the work of social semioticians Kress and Van Leeuwen, 2002) was augmented in light of the five salient characteristics in order to construct an appropriate methodological framework. A comparative reading of the works by Taylor, Nix and the researcher reveals that although each of the artistphotographers followed a peculiar and unique approach in constructing the autobiographical picture narrative, parallels can be established in terms of various central concepts, as is evident from the semiotic reading. In particular, the role of memory and the interpretation of autobiographical elements emerged as common denominators. The process of constructing an autobiographical memory therefore provides the narrator-photographer with the options of escaping into and not from memory, thus allowing for unique possibilities in terms of interpretation, fantasy and construction.

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (p. 18-20).

University of Macau / Faculty of Arts and Humanities. / Department of English

Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)

Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)

Thesis (M.F.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains v, 27 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 25).

Thesis is submitted in partial fulfilment for the degree of Master of Arts (Digital Arts) to the Faculty of Humanities, School of Arts, University of the Witwatersrand, Johannesburg, 2016. / This paper aims to go down into the rabbit-hole, by analysing the narrative experience derived from games and investigate how it functions in conjunction with the gameplay. This analysis will focus in detail on a case study of Ubisoft's 2012 title Far Cry 3 (FC3). FC3 is a sequel to Far Cry (2004), the original title was developed by Crytek, and produced by Ubisoft. The sequels have been Ubisoft Montreal creations. I have selected FarCry3 as it is commercially successful, as of February 2013 it sold over 4, 5 million copies (Phillips, T. "Far Cry sales hit 4.5 million" 2013). It also received various nominations, including an award for its story, during the 9th British Video Game Awards (Reynolds “Bafta Game Awards 2013” 2012). FC3 can, therefore, be viewed as being indicative of what the populist gaming community desires in a game, an indicator of present trends in narrative development in games. For this paper, I intend to use Hendry Jenkins’ narrative model to analyse how FC3 structured. As a result, illuminating how FC3, manages to engage with a cogent narrative, while operating in conjunction with an engaging game mechanic. I intend to present the structures as they exist within the case study's fictional world. In this research report I will argue that FC3 incorporates multiple narrative structures which promote gameplay. I will play the FC3 critically to gain an overall perspective and through the use of in play videos to select key scenes for analysis within my case study. With the knowledge invested, I intend to apply Jenkins’ narrative architecture in my analysis. [No abstract provided. Information taken from introduction]. / MT2017

The 1970s are widely considered the decade of performance, with both the formulation of the term “performance” and fierce debates about its precise definition. Championing this novel genre, critics and artists sought to distinguish performance from the conventions of theater and the prescriptions of commercial entertainment. In the definition that has since dominated art history, performance implied the exclusion of narrative, script, artifice, and theatricality. However, this understanding of performance relies on a caricature of the genre that excludes much of the work made in downtown New York City in the 70s: performance’s constitutive moment. Drawing on original archival research, the dissertation is a critical study of this important but heretofore neglected history. Structured around case studies of pivotal works by Laurie Anderson, Julia Heyward, and Jill Kroesen, pioneering figures in the downtown milieu, the project considers how artists melded narrative forms, theatrical devices, and charismatic onstage personae with biting social critique. Often challenging television, rock music, and advanced art alike, the performances at hand exemplify the period’s complicated matrix of “selling out” and “crossing over,” adding new dimensions to a longstanding conversation about the relationship between the avant-garde and mass culture. Rather than a total denial or negation of the elements of theater, as has often been proposed, “performance” I argue, emerges in the 1970s, in a complex dialectical relation with theater’s elements (while often nonetheless rhetorically distancing itself from theater tout court). “Performance” as a genre, I argue, emerged in the 70s as something to be fundamentally staged.