“Traditionally there is the epic form, and in opposition, there is the dramatic form. When we speak of the dramatic form it is motivated towards a result, towards a goal. About ninety-nine percent of films, whether made by serious filmmakers or Hollywood, are actually dramatic films.
Dramatic films could be psychologically, sociologically determined, or just determined by a plot – let’s say a thriller. They could be comic or belong to any other genre. A dramatic film must proceed to an end. So the argument that it raises between characters, or in the plot itself, must be resolved, and then it heads towards kind of a convergence, a climax. Say the conflict between good and bad is resolved in the end.
The epic form is just the opposite, which means that the narrative is usually very thin, very spread out and at every stage that it develops, it tries to have wider perspectives. Not just concerning the characters but also about nature, history or ideas. These are not just a description of society, but visions of epochs that have gone by. So it cannot be just a simple movement, a narrative moving forward, but as the story is narrated, it must also embrace and spread out.”
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