: Modern theory, particularly that of David Bordwell, argues that spectators are not passive "victims" of a story but active participants who use "schemata" (mental frameworks) to test hypotheses and draw inferences about the plot.
Filmic narration varies historically and stylistically, categorized into distinct "modes" that set audience expectations: Narration in the Fiction Film
: Characterized by clear cause-and-effect logic, a goal-oriented protagonist, and "invisible" editing that prioritizes narrative clarity. : Modern theory, particularly that of David Bordwell,
Narration in fiction film is not merely the presence of a "voice-over" but the broader process of selecting, arranging, and ordering story material to achieve specific effects on the viewer. Unlike literature, which relies on a literal "teller," filmic narration is a systematic interplay between (the specific patterning of events) and style (the use of cinematic techniques like lighting, camera movement, and editing). Unlike literature, which relies on a literal "teller,"
: A fundamental distinction in narrative theory is between the fabula (the chronological story as reconstructed by the viewer) and the syuzhet (the actual arrangement of events as they appear on screen).