When we start analysing cinema, we need to keep in mind the importance of the structure of narrative. It includes both the essence of stories as well as the detailed meaning, structure and language of the film. There is a further complication while going through this narrative. It is its relation with the real world. Cinema has a language of its own and in a way it is quite away from reality. Still when we consider ourselves to be the audience, we must convince ourselves and our mind that what we see is the actual reality. And it is this whole complex dialogue of narrative relationship of elements and narrative as whole, that make it more tedious and tangled complex understanding for the film directors and others involved in movie making.

The understanding about film maker as theorists and vice vera                             

The change in the storytelling take place with the inclusion of number of scenes, usage of camera in varied angles and proportions, the aspect of editing especially usage of cutting during action. Due to inclusion of these, the concept of genre emerged. This further developed and explained the various language of cinema which is as normal to all of us as we write or speak. Even though it looks very regular, the language of cinema is very deep and has its on connotations and contexts to be understood in depth.

This is how the theory of film emerges which involves understanding, dialogue and reaction of audience to the same. Many film makes are fluent in the art of understanding and imparting the knowledge about the craft. They are eloquent in the medium craft of film making of themselves and others. They know the methodology and means of how to turn a concept into piece of art. So for those movie makers who are new to the field, in depth knowledge about the concept and the theories of film and film making can help in improving the craft and art of film  making and its communication. Also the dependency is vice versa. If a theorist does not give weightage to the practicality of film and its production process or, if they think that movies are merely there to entertain and nothing else, then the facts for them need to be rechecked. Theory and practical goes hand in hand and a working information about the whole concept is of equal importance. Thus there should be a consensus and hormonal balance between the knowledge and craft in cinema so as to bring about an experience that is filled with both information and entertainment equally.

Cinema has its own structure that acts as a strength. The written, verbal as-well-as visual aspect when come together, they procreate deeper analysis as a concept.Whe we talk about the term Stucturalism, we should understand that it is like a big envelope with lots of small letters inside. All these letters have different topics but the crux remains similar. Under structuralism all of the information is labelled as ‘text’ that is available for analysis. The analysis should be done of all the different things by same principles broadly.

This term emerged for analysis by Ferdinand de Saussure (1857-1913). His concepts and rules were taken, analysed, worked upon and further applied to every aspect of human conversation, so that people can understand the concept of this term. Cinema has its own language and basis of any thought or movement rely on this language and its study. Like film theorists who have immense knowledge of their subject matter, movie makers also have substantial information and in-depth vision of the craft they are associated with. They may not be using the word by word language of structuralism; however the film makers are unconscious and subconscious consumers of its method in the practical world. Thus bringing a detailed finesse and sharpness in a piece of work. This film language is extremely methodological and in its construction unlike the language that we speak.

The narrative of the cinema has been studied in detail by number of theorists and academicians of varied fields. The implication is that all narratives are not working on a single model. They vary from each other. The cinema narrative lean more towards, drama rather than text and literature of the films. When we talk about the narrative in films, we should keep in mind that these narratives have many dimensions. They are written, visual as-well-as verbal. These narratives  do not emerge naturally. They are worked upon and created in every aspect. In reality they are created subconsciously while in films there is a delebrate effort to build up a conscious narrative. Narrative belong to all. Irrespective of any culture, time, relationship, real or our world of virtuality, narrative involve in every aspect. It can transcends through time. They were important back in time and they are of equal relevance even today. Infact, the narrative has cojoined films with reality in today’s times and helps in creating a genuine meaning and relatability for the audience. When we study the various aspects of narrative and its structure, it is called as narratology. Film narratology is mainly associated with language like codes and the context of these codes. They are many times even relate with the relation between language and context  together.

We know by now that narrative is much more then telling stories. However when we take a film in question, we will find that narrative gains its real meaning when the plot of the movie come into  being. The plot will identify how one set of action will lead to the other. If this is not made clear then the film will not make sense. So the narrative has to be able to take the movie forward with due to the pre-existence of Film plot. Afterall it a lot about what film speaks!