l Bordwell here has stressed one particular kind of motivation, causal motivation, and its prevalence with a range of Hollywood genres. He goes on to point out, however, that in certain circumstances causal motivation can be abandoned for, or intermingled with, Coincidence, Luck, Fortune, Fate or the intervention of the Supernatural.
l Motivation is an issue that affects not just ending but also the events that precede them.
l If anything, it not only permits but encourages the abandonment of causal motivation and narrative integration for the sake of comic effect, providing a generically appropriate space for the exploration and use of non-causal forms of motivation and digressive narrative structures.
l For these reasons, comedy is a prime site for all manner of unlikely actions---and all manner of unlikely forms of justification for their occurrence.
l ~~posits the existence of a mermaid to justify its plot and to motivate a number of its gags.
l Motivation is always functional to the design of a narrative.
l Narrative design is also at issue is suspense and surprise, two types of narrative strategy fundamental to all kind of comedy.
Reference:
Zhang Zi Xiao, 2012. The successful way of low-budget comedy film[online]. Available at: http://www.docin.com/p-432818669.html [Accessed 28 December 2012]
Yue Fei, 2012. The comic spirit of low-budget comedy film[online] Available at:http://www.nylw.net/Art/dianshidianying/nylw_0716_9098_2.html [Accessed 2 December 2012]
Yang Liu, 2010.The revelry and spoof of Chinese low-budget comedy film. Available at:http://www.doc88.com/p-993392545037.html[Accessed 5 December 2012]
Non, 2008. The production conditions of Chinese low-budget comedy film. Available at:http://www.docin.com/p-443755259.html [Accessed 18 December 2012]
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