Name : Fira Ramadani Class : ag nim : 40300121026 Summary

Name : Fira Ramadani
Class : 3 AG 1
NIM : 40300121026
Summary

1. 
   Suspense and Surprise
   

Uncertainty, often characterized by anxiety. Suspense is usually a curious mixture of pain and pleasure .... Most great art relies more heavily on suspense than on surprise. One can rarely reread works depending on surprise; the surprise gone, the interest is gone. Suspense is usually achieved in part by foreshadowing-hints of what is to come. . . Suspense is ... related to tragic irony.
Anxiety is not a reflex of uncertainty about the conclusion, since that is already foregone. It is rather that we know what is going to happen, but we cannot communicate that information to the characters, with whom we have come to empathize.
Suspense and surprise are complementary, not contradictory terms. The two can work together in narratives in complex ways: a chain of events may start out as a surprise, work into a pattern of suspense, and then end with a "twist," that is, the frustration of the expected result-another surprise.
Suspense is a state or feeling of exited or anxious uncertainty about what may happen. Surprise is a feeling of mild astonishment or shock caused by something.

2. 
   Time and Plot
   

There is reading-time and there is plot-time, or, as I prefer to distinguish them, discourse-time-the time it takes to peruse the discourse-and story-time, the duration of the purported events of the narrative.

3. 
   Order, Duration, and Frequency
   

1. 
   Order
   

The discourse can rearrange the events of the story as much as it pleases, provided the story-sequence remains discernible. If not, the classical plot fails in "unity." The problem is particularly real for the cinema, whose normal compositional technique is montage or cutting; sometimes it can be difficult to tell whether a given cut signals a flashback, a flashforward, or simply an ellipsis followed by the next (spatially removed) event in the story.
Genette distinguishes between normal sequence, where story and discourse have the Same order (1 234), and "anachronous" sequences. And anachrony can be of two sorts: flashback (analepse), where the discourse breaks the story-flow to recall earlier events (2 1 3 4), and flashforward (prolepse) where the discourse leaps ahead, to events subsequent to intermediate events.

2. 
   Duration
   

Duration concerns the relation of the time it takes to read out the narrative to the time the story-events themselves lasted.

1. 
   Summary: the discourse is briefer than the events depicted. They denote events that happen once, in a relatively brief span of time, and do not recur. For example, "he jumped," or "she decided," or "they married."
   
2. 
   Ellipsis: the discourse halts, though time continues to pass in the story. Ellipsis is as old as The Iliad. But, as many critics have pointed out, ellipsis of a particularly broad and abrupt sort is characteristic of modern narratives.
   
3. 
   scene: the scene is the incorporation of the dramatic principle into narrative. The two usual components are dialogue and overt physical actions of relatively short duration, the kind that do not take much longer to perform than to relate.
   
4. 
   Stretch: here discourse-time is longer than story-time. By "overcranking"-that is, running the camera at a faster speed than its later projection-the cinema can manifest stretch in the well-known "slow motion." But there ~e other ways in which it can cause discourse-time to take longer; story-time can be stretched, for instance, by a kind of overlapping or repetitious editing.
   
5. 
   Pause: story-time stops though the discourse continues, as in descriptive passages.
   

3. 
   Frequency
   

The third possible relationship between discourse-time and story-time is frequency.