The idea of "classic Hollywood narration"
derives from The Classical Hollywood
Cinema (1985), by David Bordwell, Janet Staiger, and Kristin Thompson.
"Classic Hollywood narration
focuses on an individual or small group of individuals who early on encounter
discrete and specific goals that are either clearly attained or clearly
unattained by the film's end. The goals tend to exist in two spheres, and their
pursuit is developed along parallel and often interdependent plot lines. One
sphere is private, generally a heterosexual romance; the second is public--a
career advance, the obliteration of an enemy, a mission, a discovery, and the
like."
(William Luhr, “Tracking The
Maltese Falcon: Classical Hollywood Narration and Sam Spade,” in Close Viewings: an Anthology of New Film
Criticism, ed. Peter Lehman [1990], 7-8)
Compare Graeme
Turner, Film as Social Practice (2nd.
Ed., 1993), pp. 80-81:
Even now, within
most mainstream Hollywood productions, audiences expect to encounter a plot
centered around a main character played by a star; driven by a consistent set
of cause and effect relationships; employing a double plot structure which
links a heterosexual romance with another sphere of action (adventure,
business, crime, for instance); and which uses the romantic clinch as the sign
of narrative closure. Departures from such conventions within contemporary
Hollywood cinema are usually seen as especially realistic and 'confronting,'. .
. as especially 'arty,' . . .or as fantasy.
Compare Maltby, Hollywood Cinema (2nd ed.,
2003), p. 12:
Like most Hollywood movies, Titanic contains
two distinct plots, a love story and, in this case, an account of the disaster.
These two plots are as connected to each other as any individual viewer
requires. Chronologically, they are almost completely separate. The love story
reaches its climax and resolution 100 minutes into the movie's 194-minute
running time, when Rose (Kate Winslet) tells Jack (DiCaprio) that she intends
to leave the ship with him. Immediately afterwards, the ship hits the iceberg
and the spectacular action movie begins. This coincidence allows viewers to
connect the two sequences of events if they choose to do so: Rose, who has
described the Titanic as "a slave ship, taking me back to America
in chains," rejects the luxurious repression the ship represents, and by
her act of free will dooms
the ship. For those viewers who choose such an interpretation, the story
"moves from Rose's sexual objectification and her suicidal frame of mind
(in which she turns her anger against herself) to her sexual liberation and the
externalization of her aggressive impulses in the spectacle of the ship's
destruction."
In
his book on Titanic, David Lubin suggests that
the simultaneity of the kiss and the crash "adhere to the governing rule
of historical fiction, which is that public and historically significant events
are best understood by taking measure of the private and personal struggles of
fictitious characters put forth as ordinary people whose lives happen to be directly
affected by those events."17 We witness the disaster from the perspective
of Rose, Jack, and the other characters we have met in following their love
story.