TFM 2025/2026 Exam Revised Answered Questions
2025/2026
Omniscient narration - knows all and can tell us whatever it wants us to know. It has
unrestricted access to all aspects of the narrative. It can provide any character's experiences
and perceptions, as well as information that no character knows. It shows the audience
whatever it needs in order to best tell the story.
Restricted narration - limits the information it provides to only things already known to a
single character. This approach allows the audience to identify with the character's singular
perspective and allows us to participate in the unlocking of secrets
A movie's story consists of - (1) all the narrative elements that are explicitly presented on-
screen plus (2) all the events that are implicit or that we infer to have happened but are not
explicitly presented
The plot - the specific actions and events the filmmakers select and the order in which they
arrange those events to effectively convey the narrative to the viewer.
diegetic elements - everything in the story except the opening and closing credits and titles
and the background music,
Non diegetic elements. - opening and closing credits and titles and the background music,
summary relationship - screen duration is shorter than plot duration (The summary
relationships is very familiar and occurs much more frequently in mainstream movies than
the other two)
real time - screen duration corresponds directly to plot duration
stretch relationship - screen duration is longer than plot duration
Voice-over Narration - when we hear a character's voice over the picture without actually
seeing the character speak words.
, Direct Address Narration - breaks the "fourth wall" that traditionally separates the viewer
from the two-dimensional fiction on-screen. It goes beyond the first-person narrative and
voice-over narration. This is when the first-person narrator character interrupts the
narrative.
Round Characters - complex; possess numerous subtle, repressed, or even contradictory
traits that can change significantly over the course of the story—sometimes surprisingly so.
Seem more lifelike due to the complexness.
Flat Characters - exhibit few distinct traits and do not change significantly as the story
progresses. This doesn't mean they are less legitimate that other characters; different types
of stories call for different approaches to character traits, behaviors, and development.
Protagonist - character who pursues the goal
Antagonist - the person, people, creature, or force responsible for obstructing the
protagonist.
Anti-Hero - seemingly unsympathetic protagonist chasing less than noble goals
Inciting Incident (Catalyst) - presents the character with the goal that will drive the rest of
the narrative.
Rising Action - when the narrative builds towards a peak in the second act, a breaking point
of sorts, as the conflict intensifies and the goal remains out of reach.
Crisis - the peak of the narrative, major obstacle
Climax - when the protagonist faces the crisis
Resolution - he third act of falling action in which the narrative wraps up loose ends and
moves towards a conclusion once the goal is either lost or attained.
2025/2026
Omniscient narration - knows all and can tell us whatever it wants us to know. It has
unrestricted access to all aspects of the narrative. It can provide any character's experiences
and perceptions, as well as information that no character knows. It shows the audience
whatever it needs in order to best tell the story.
Restricted narration - limits the information it provides to only things already known to a
single character. This approach allows the audience to identify with the character's singular
perspective and allows us to participate in the unlocking of secrets
A movie's story consists of - (1) all the narrative elements that are explicitly presented on-
screen plus (2) all the events that are implicit or that we infer to have happened but are not
explicitly presented
The plot - the specific actions and events the filmmakers select and the order in which they
arrange those events to effectively convey the narrative to the viewer.
diegetic elements - everything in the story except the opening and closing credits and titles
and the background music,
Non diegetic elements. - opening and closing credits and titles and the background music,
summary relationship - screen duration is shorter than plot duration (The summary
relationships is very familiar and occurs much more frequently in mainstream movies than
the other two)
real time - screen duration corresponds directly to plot duration
stretch relationship - screen duration is longer than plot duration
Voice-over Narration - when we hear a character's voice over the picture without actually
seeing the character speak words.
, Direct Address Narration - breaks the "fourth wall" that traditionally separates the viewer
from the two-dimensional fiction on-screen. It goes beyond the first-person narrative and
voice-over narration. This is when the first-person narrator character interrupts the
narrative.
Round Characters - complex; possess numerous subtle, repressed, or even contradictory
traits that can change significantly over the course of the story—sometimes surprisingly so.
Seem more lifelike due to the complexness.
Flat Characters - exhibit few distinct traits and do not change significantly as the story
progresses. This doesn't mean they are less legitimate that other characters; different types
of stories call for different approaches to character traits, behaviors, and development.
Protagonist - character who pursues the goal
Antagonist - the person, people, creature, or force responsible for obstructing the
protagonist.
Anti-Hero - seemingly unsympathetic protagonist chasing less than noble goals
Inciting Incident (Catalyst) - presents the character with the goal that will drive the rest of
the narrative.
Rising Action - when the narrative builds towards a peak in the second act, a breaking point
of sorts, as the conflict intensifies and the goal remains out of reach.
Crisis - the peak of the narrative, major obstacle
Climax - when the protagonist faces the crisis
Resolution - he third act of falling action in which the narrative wraps up loose ends and
moves towards a conclusion once the goal is either lost or attained.
