Continuity (fiction)

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In fiction, continuity is a consistency of the characteristics of people, plot, objects, and places seen by the reader or viewer over some period of time. It is relevant to several media.

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Continuity is particularly a concern in the production of film and television due to the difficulty of rectifying an error in continuity after shooting has wrapped up. It also applies to other art forms, including novels, comics, and video games, though usually on a smaller scale. It also applies to fiction used by persons, corporations, and governments in the public eye.

Most productions have a script supervisor on hand whose job is to pay attention to and attempt to maintain continuity across the chaotic and typically non-linear production shoot. This takes the form of a large amount of paperwork, photographs, and attention to and memory of large quantities of detail, some of which is sometimes assembled into the story bible for the production. It usually regards factors both within the scene and often even technical details, including meticulous records of camera positioning and equipment settings. The use of a Polaroid camera was standard but has since been replaced by digital cameras. All of this is done so that, ideally, all related shots can match, despite perhaps parts being shot thousands of miles and several months apart. It is an inconspicuous job because if done perfectly, no one will ever notice.

In comic books, continuity has also come to mean a set of contiguous events, sometimes said to be "set in the same universe."

Continuity errors

Most continuity errors are subtle and minor, such as changes in the level of drink in a character's glass or the length of a cigarette, and can be permitted with relative indifference even to the final cut. Others can be more noticeable, such as sudden drastic changes in the appearance of a character. Such errors in continuity can ruin the illusion of realism and affect the suspension of disbelief.

In cinema, special attention must be paid to continuity because films are rarely shot in the order in which they are presented. The shooting schedule is often dictated by location permit issues. For example, a character may return to Times Square in New York City several times throughout a movie, but as it is extraordinarily expensive to close off Times Square, those scenes will likely be filmed all at once to reduce permit costs. Weather, the ambience of natural light, cast and crew availability, or any number of other circumstances can also influence a shooting schedule.

Measures against continuity errors in the film

Film production companies use various techniques to prevent continuity errors. The first would be to film all the shots for a particular scene together and all shots of consecutive scenes together (if the scenes take place together, with no break between them in the film's timeline). This allows actors to remain in costume, in character, and in the same location (and with the same weather, if shooting on location).

The second major technique is for costume designers, production designers, prop masters, and make-up artists to take instant photographs of actors and sets at the beginning and end of each day's shooting (once made possible by Polaroid cameras, now done with digital cameras and cell phones as well). This allows the various workers to check each day's clothing, set, props, and make-up against a previous day's.

The third is to avoid shooting on location entirely but instead film everything on a studio set. This allows weather and lighting to be controlled (as the shooting is indoors), and for all clothing and sets to be stored in one place to be hauled out the next day from a secure location.

Editing errors

Editing errors can occur when a character in a scene references a scene or incident that has not occurred yet, or of which they should not yet be aware.[ citation needed ]

An example of an editing error can be seen in the film It's a Mad, Mad, Mad, Mad World (1963), where a scene of people climbing a slope at the start is seen from below and then replayed from above.

Visual errors

Visual errors are instant discontinuities occurring in visual media such as film and television. Items of clothing change colors, shadows get longer or shorter, items within a scene change place or disappear, etc.

One of the earliest examples of a visual error appears in Charlie Chaplin's 1914 movie The Property Man . [1] Here, in a supposedly smooth step from one room to another, the Tramp loses his hat in one room, but it is instantly back on his head as he enters the next room. Rather "loose" plots and a lack of continuity editing made most early films rife with such errors.

Another example occurs in the 1998 film Waking Ned , when two of the film's characters, Jackie and Michael, are walking through a storm towards Ned's house. The umbrella they are under is black during their conversation as they walk towards the house (filmed from slightly above and to the front). However, after cutting to a lower shot (filmed from behind Jackie), Michael walks onscreen from the right holding an umbrella that is not black but beige, with a brown band at the rim.

Another glaring example of poor continuity occurs in the Disney film Pete’s Dragon (filmed in 1976). During the song "Brazzle Dazzle Day" when Lampie (Mickey Rooney), Pete (Sean Marshall), and Nora (Helen Reddy) climb the stairs to the top of the lighthouse, Pete's shirt beneath his overalls is orange. But after descending to the bottom again and coming out of the lighthouse door, his shirt is now grey.

Plot errors

A plot error, or a plot hole as it is commonly known, reflects a failure in the consistency of the created fictional world. A character might state he was an only child, yet later mention a sibling. In the TV show Cheers , Frasier Crane's wife Lilith mentions Frasier's parents are both dead. When the character was spun off into Frasier , his father became a central character with, in a case of retroactive continuity, the explanation that Frasier was embarrassed about his father's lowbrow attitudes and thus claimed his death. This is a frequent occurrence in sitcoms, where networks may agree to continue a show, but only if a certain character is emphasized, leading other minor characters to be written out of the show with no further mention of the character's existence, while the emphasized character (usually a breakout character, as in the case of Frasier Crane) develops a more complete back story that ignores previous, more simplified backstories.

Homeric nod

A Homeric nod (sometimes heard as 'Even Homer nods') is a term for a continuity error that has its origins in Homeric epic. The proverbial phrase for it was coined by the Roman poet Horace in his Ars Poetica : [2] "et idem indignor quandoque bonus dormitat Homerus" ("and yet I also become annoyed whenever the great Homer nods off").

There are numerous continuity errors in Homer that can be described as "nods", for example:

In modern Homeric scholarship, many of Homer's "nods" are explicable as the consequences of the poem being retold and improvised by generations of oral poets. So in the second case cited above, it is likely that two different versions are being conflated: one version with an embassy of three people, another with just two people. Alexander Pope was inclined to give Homeric nods the benefit of the doubt, saying in his Essay on Criticism that "Those oft are Stratagems which Errors seem, Nor is it Homer Nods, but We that Dream.".

Aging discrepancies

The practice of accelerating the age of a television character (usually a child or teenager) in conflict with the timeline of a series and/or the real-world progression of time is popularly known as Soap Opera Rapid Aging Syndrome, or SORAS. [5] Children unseen on screen for a time might reappear portrayed by an actor several years older than the original. [6] Usually coinciding with a recast, this rapid aging is typically done to open up the character to a wider range of storylines, and to attract younger viewers. [5] A recent example of this occurring is in the BBC's Merlin series, in which Mordred is initially played by a young child in Season 4, yet suddenly grows up into his late teens in time for the start of Season 5, with the rest of the characters aging by only three years.

The reverse can also happen. On the television program Lost , the character of 10-year-old Walt Lloyd was played by 12-year-old actor Malcolm David Kelley. The first few seasons took place over the course of just a few months, but by that point, Lloyd looked much older than 10. In his remaining few appearances, special effects were used to make him look younger, or the scene took place years later.

Deliberate continuity errors

Sometimes a work of fiction may deliberately employ continuity errors, usually for comedy. For example, in the Marx Brothers' classic film Duck Soup , at the climax of the film, the camera shows a shot of Groucho Marx speaking a line, followed by a shot of something else happening, followed by another shot of Groucho. Each time, Groucho's hat changes, usually to something more outrageous than before (a Napoleonic hat, a Prussian hat, etc.).

Dealing with errors

When continuity mistakes have been made, explanations are often proposed by either writers or fans to smooth over discrepancies. Fans sometimes make up explanations for such errors that may or may not be integrated into canon; this has come to be colloquially known as fanwanking (a term originally coined by the author Craig Hinton to describe the excessive use of continuity). [7] Often when fans do not agree with one of the events in a story (such as the death of a favorite character), they will choose to ignore the event in question so that their enjoyment of the franchise is not diminished. When the holder of the intellectual property discards all existing continuity and starts from scratch, it is known as rebooting. Fans call a less extreme literary technique that erases one episode the reset button. See also fanon.

A conflict with previously-established facts is sometimes deliberate; this is a retcon , as it is a retroactive change in continuity. Retcons sometimes clarify ambiguities or correct perceived errors. This is not to be confused with the continuance of a reality (continuality).

Real-time programs vs. traditional films

Television programs like 24 , in which actors have to appear as if it is the same day for 24 consecutive episodes, have raised public recognition of continuity. However, traditional films have frequently had much of the same sort of issues to deal with; film shoots may last several months, and as scenes are frequently shot out of story sequence, footage shot weeks apart may be edited together as part of the same day's action in the completed film. In some ways, 24 presents a simpler situation, as costumes and hairstyles generally should not change very frequently; in many feature films, a range of different hairstyles and costumes must be created, changed, and then recreated exactly, as various scenes are shot.

Ageless characters

Some fiction ignores continuity to allow characters to slow or stop the aging process, despite real-world markers like major social or technological changes. Comics sometimes refer to this as a "floating timeline", where the fiction takes place in a "continuous present". [8] Roz Kaveney suggests that comic books use this technique to satisfy "the commercial need to keep certain characters going forever". [9] This is also due to the fact that the authors have no need to accommodate the aging of their characters, which is also typical of most animated television shows. [10] Kevin Wanner compares the use of a sliding timescale in comics to the way ageless figures in myths are depicted interacting with the contemporary world of the storyteller. [11] When certain stories in comics, especially origin stories, are rewritten, they often retain key events but are updated to a contemporary time, such as with the comic book character Tony Stark, who invents his Iron Man armor in a different war depending on when the story is told. [12]

Related Research Articles

Film editing Creative and technical part of the post-production process of filmmaking

Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology.

Retroactive continuity Alteration of previously established facts in the continuity of a fictional work

Retroactive continuity, or retcon for short, is a literary device in which established diegetic facts in the plot of a fictional work are adjusted, ignored, or contradicted by a subsequently published work which breaks continuity with the former.

Storyboard

A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualising a motion picture, animation, motion graphic or interactive media sequence. The storyboarding process, in the form it is known today, was developed at Walt Disney Productions during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.

Fourth wall Concept in performing arts separating performers from the audience

The fourth wall is a performance convention in which an invisible, imagined wall separates actors from the audience. While the audience can see through this "wall", the convention assumes the actors act as if they cannot. From the 16th century onward, the rise of illusionism in staging practices, which culminated in the realism and naturalism of the theatre of the 19th century, led to the development of the fourth wall concept.

<i>Mickey Mouse universe</i> Fictional universe and media franchise involving Mickey Mouse and related Disney characters

The Mickey Mouse universe is a fictional shared universe which is the setting for stories involving Disney cartoon characters Mickey and Minnie Mouse, Pluto, Goofy, and many other characters. The universe originated from the Mickey Mouse animated short films produced by Disney starting in 1928, but its first consistent version was created by Floyd Gottfredson in the Mickey Mouse newspaper comic strip. Real-world versions also exist in Disneyland and Tokyo Disneyland, called Mickey's Toontown.

Fictional universe Self-consistent fictional setting with elements that may differ from the real world

A fictional universe, or fictional world, is a self-consistent setting with events, and often other elements, that differ from the real world. It may also be called an imagined, constructed, or fictional realm. Fictional universes may appear in novels, comics, films, television shows, video games, and other creative works.

Jump cut

A jump cut is a cut in film editing in which a single continuous sequential shot of a subject is broken into two parts, with a piece of footage being removed in order to render the effect of jumping forward in time. Camera positions of the subject in the remaining pieces of footage of the sequence should vary only slightly in order to achieve the effect. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's Breathless, which made extensive use of jump cuts and popularized the technique during the 1960s. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. Jump cuts tend to draw attention to the constructed nature of the film. More than one jump cut is sometimes used in a single sequence.

The reset button technique is a plot device that interrupts continuity in works of fiction. Simply put, use of a reset button device returns all characters and situations to the status quo they held before a major change of some sort was introduced. Typically it occurs either in the middle of a program and negates a portion of it, or it occurs at the beginning, or very end, of a program to negate all that came before it. Often used in science fiction television series, animated series, soap operas, and comic books, the device allows elaborate and dramatic changes to characters and the fictional universe that might otherwise invalidate the premise of the show with respect to future episodes' or issues' continuity. Writers may, for example, use the technique to allow the audience to experience the death of the lead character, which traditionally would not be possible without effectively ending the work.

Film transition Technique by which scenes or shots of a film are combined

A film transition is a technique used in the post-production process of film editing and video editing by which scenes or shots are combined. Most commonly this is through a normal cut to the next shot. Most films will also include selective use of other transitions, usually to convey a tone or mood, suggest the passage of time, or separate parts of the story. These other transitions may include dissolves, L cuts, fades, match cuts, and wipes.

A story arc is an extended or continuing storyline in episodic storytelling media such as television, comic books, comic strips, boardgames, video games, and films with each episode following a dramatic arc. On a television program, for example, the story would unfold over many episodes. In television, the use of the story arc is common in sitcoms, and even more so in soap operas. In a traditional Hollywood film, the story arc usually follows a three-act format. Webcomics are more likely to use story arcs than newspaper comics, as most web comics have readable archives online that a newcomer to the strip can read in order to understand what is going on. Although story arcs have existed for decades, the term "story arc" was coined in 1988 in relation to the television series Wiseguy, and was quickly adapted for other uses.

Crossover (fiction) Film and video terminology

A crossover is the placement of two or more otherwise discrete fictional characters, settings, or universes into the context of a single story. They can arise from legal agreements between the relevant copyright holders, unauthorized efforts by fans, or common corporate ownership.

One-shot (comics) Type of comic book

In comics, a one-shot is a work published as a single stand-alone story, rather than as part of an ongoing series. One-shots date back to the early 19th century, published in newspapers, and today may be in the form of single published comic books, parts of comic magazines/anthologies or published online in websites. In the marketing industry, some one-shots are used as promotion tools that tie in with existing productions, movies, video games or television shows.

Viewfinder

In photography, a viewfinder is what the photographer looks through to compose, and, in many cases, to focus the picture. Most viewfinders are separate, and suffer parallax, while the single-lens reflex camera lets the viewfinder use the main optical system. Viewfinders are used in many cameras of different types: still and movie, film, analog and digital. A zoom camera usually zooms its finder in sync with its lens, one exception being rangefinder cameras.

American comic book tropes are common elements and literary devices related to American comic books.

This article contains a list of cinematic techniques that are divided into categories and briefly described.

A scene is a dramatic part of a story, at a specific time and place, between specific characters. The term is used in both filmmaking and theatre, with some distinctions between the two.

A script supervisor is a member of a film crew and oversees the continuity of the motion picture Including wardrobe set dressing,hair,makeup and the actions of the actors during a scene. is a member of a film crew who oversees the continuity of the motion picture including wardrobe, props, set dressing, hair, makeup and the actions of the actors during a scene. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scene. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit typically appears in the closing credits of a motion picture. Script supervisors are a department head and play a crucial role in the shooting of a film. It is the script supervisor's job to monitor the camera shots, seeking to maintain coherence between the scenes.

The Buffyverse canon consists of materials that are thought to be genuine and those events, characters, settings, etc., that are considered to have inarguable existence within the fictional universe established by the television series Buffy the Vampire Slayer. The Buffyverse is expanded through other additional materials such as comics, novels, pilots, promos and video games which do not necessarily take place in exactly the same fictional continuity as the Buffy episodes and Angel episodes. Star Trek, Star Wars, Stargate and other prolific sci-fi and fantasy franchises have similarly gathered complex fictional continuities through hundreds of stories told in different formats.

A motion comic is a form of animation combining elements of print comic books and animation. Individual panels are expanded into a full shot while sound effects, voice acting, and animation are added to the original artwork. Text boxes, speech bubbles and the onomatopoeia are typically removed to feature more of the original artwork being animated. Motion comics are often released as short serials covering a story arc of a long running series or animating a single release of a graphic novel. Single release issues of a story arc are converted into ten- to twenty-minute-long episodes depending on content.

The Valiant Universe is the fictional shared universe where most stories in American comic book titles that are published by Valiant Comics take place.

References

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  2. Lines 358-359.
  3. Book V Lines 576-579
  4. Book XIII Lines 643-659
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  10. Goertz, Allie; Prescott, Julia; Oakley, Bill; Weinstein, Josh (2018-09-18). 100 Things The Simpsons Fans Should Know & Do Before They Die (in Arabic). Triumph Books. ISBN   978-1-64125-109-9.
  11. Wanner, Kevin J. (2018). "Authority Apart from Truth: Superhero Comic Book Stories as Myths". In Urban, Hugh; Johnson, Greg (eds.). Irreverence and the Sacred: Critical Studies in the History of Religions. Oxford University Press. p. 84.
  12. Méon, J. M. (2018). "Sons and Grandsons of Origins: Narrative Memory in Marvel Superhero Comics". In Ahmed, Maaheen; Crucifix, Benoît (eds.). Comics Memory: Archives and Styles. Palgrave Macmillan. pp. 203–204. ISBN   978-3319917450.

Further reading