April 2, 2012
Real Fiction: Recursive Hypertext
While viewing the film Stranger than Fiction, I noticed how much film as a medium adheres to my perception of hypertext. This film, and all films, incorporate some mixture of audio, visual, and textual stimuli. Some of these nodes of stimuli hold meaning separate from the other, but some contain a recursive element in relation to each other. For example, a film with subtitles would contain an audio portion matching the words splayed across the bottom of the screen. One could even include the visual factor of the motion of the actor's/actress's mouth. All of these nodes of stimuli contain a recursive meaning in regards to each, but also differ enough that there is additional meaning to be garnered by examining each node individually. That is, some video, audio, and textual elements of a film contain portions of the same interpretable meaning. In fact, any two elements could be perceived and interpreted to have the same meaning, but with very disimilar observed substantive forms that would be a very strange fiction of the mind. Stranger than Fiction is a prime example of recursive hypertext, because not only does it contain the same basic recursion as most films, but also reflects this incursion through the path of its narrative. The narration directly resembles the meaning of the film's visual realm. The main character, Harold Crick, eventually becomes self-aware, aware of his impact on the path of his story. Something many people in reality are unaware of. Harold Crick becomes a navigator through hypertext, an active participant in his narrative. In this manner, the path of the narration is altered, but still reflects the visual, audio, and textual movements of the whole. Harold Crick shows us that all elements are interconnected in some way, there is some intrinsic attachment between everything and there movements reflect the same meaning, or overarching narrative. The universal narrative connects everything, and everything in at least a minimal way reflects the nature and meaning of everything else.
1 comment:
Perhaps I am still having difficulty understanding the concept of a hypertext, but I am having trouble viewing Stranger than fiction as such. While there are indeed a number of intertextual elements within the film, this does not necessarily mean that the movie's center is inherently recenterable. Landow writes "Hypertext, in other words, provides an infinitely recenterable system whose provisional point of focus depends upon the reader, who becomes a truly active reader in yet another sense"(36). It seems that Stranger Than Fiction could be understood as a meta-fiction because it consciously addresses the devices used to tell stories, but it doesn't seem to me that the movie could be anything else but the story of Harold Crick who discovers that his life is being narrated and controlled by an author who intends to kill him. While there are numerous subplots, all of them weave in and out of the main story of Harold Crick.
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