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Narrative TheoryL/O: To understand the narrative theories of Todorov, Barthes,
Propp, Strauss-to be able to apply theory to films in order to identify and explain
the theories
TODOROV
Suggested there are 5stages of narrative: (with 3 major parts)
1. EQUILIBRIUM (or normality)2. DISEQUILIBRIUM (conflict/disruption of
equilibrium by action or event3. Recognition of DISEQUILIBRIUM (disruption/conflict)
4. Attempt to repair disequilibrium5. NEW EQUILIBRIUM (new normality) Simply, it is the equivalent to the classic structure of
beginning, middle, end.
TODOROV
This disruption of the initial equilibrium motivates the cause/effect chain of events that makes the plot of the film. Stages 2, 3, 4 may be repeated many times over before we reach the final stage of new equilibrium (end). Hence, the 'edge of our seats' experience (anticipation) is maintained by the lack of resolution. The full narrative structure establishes the audience's pleasure and satisfaction that are achieved by the resolution: 'happy ending'.
Often, the new equilibrium involves a new state of being, where not only has order been RESTORED, but, some kind of learning process or improvement to life has taken place.
In the case of franchise films (or trilogies), each film leaves the audience with some 'unfinished' aspect of the plot in order to prepare them for the sequel.
Different genres will present this 5 stage process differently, occupying different typical disruptions and resolutions.
TODOROV
THINK OF DIFFERENT DISRUPTIONS/CONFLICTS AND RESOLUTIONS FOR DIFFERENT GENRES:
Drama Action Horror Sci-fi Thriller
TODOROV TASK 1
Complete this sheet
*When complete, take photo using iPad and put on powerpoint
Levi-Strauss
Believed that our world is described in BINARY OPPOSITES. When we look at themes within stories and real life we realise they consist differences, contradictions and conflict or OPPOSITES. ◦ night/day◦ good/bad◦ dark/light◦ male/female
We subconsciously recognize the essential conflict in relation to narrative which familiarity in stories and films.
Strauss believes these oppositions are fundamental to our ability to make meanings of our lives. For example, we only understand good when it is opposed to evil.
He believed opposition offered structure to texts including stories, plays, books and films. In other media: ◦ Washing powder adverts: before/after contrast and effect to convince
you to buy the product◦ News reports: good/bad to present story simply
Levi-Strauss
HERO VILLAINGood Evil
Native Outside
Love Hate
Handsome Ugly
Levi-Strauss ExampleOne of the most obvious opposites in film is the opposition of hero/villain
SETTLERS NATIVE AMERICAN
SCivilised Savage
Christian Pagan
Ordered society
Town
Outside society
Wilderness
Handsome Scarred
Levi-Strauss Western Genre
GOOD EVILDay Night
Light Dark
Christian Supernatural
Innocence Violation
Levi-Strauss Horror Genre
There is a key problem with his theory (which is clear in above examples)
Oppositions inevitably lead to a status of hierarchy, one side has to 'win' the conflict, which is tied to the structure of the narrative.
Of course, the audience are expected to agree and favour the winning 'side'.
This can create a dangerous 'norm' (example ideology of white, handsome, big muscles, strong, brave, male hero
Levi-Strauss Problem
Barthes
Similar to Todorov's theory, the audiences experience of the narrative involves ANTICIPATION and EXPECTATION of a resolution to disruption/conflict; Barthes theory of codes encourage the audience to SEEK ANSWERS & CLUES to make them anticipate outcomes.
Identified these by ‘codes’:◦ Enigma Code◦ Action Code◦ Semantic Code◦ Symbolic Code◦ Cultural Code
Barthes
Narratives set up as puzzles to be solved (ex content of letter, what is in a box/briefcase, why is killer killing a victim)
It is basically portraying a mystery and raising questions as way to intrigue/draw in the audience
Can be applied to any text, a story, a poster, film etc. These enigmas delay the ending/resolution to
maintain audience interest and anticipation Answer to enigmas contribute to our enjoyment of
resolution (new equilibrium) (in mainstream films) Sometimes enigmas left unresolved (often in less
mainstream films)
Barthes – Enigma Code
Usually thriller, mystery based in which the question is “Who is the killer” and/or “Why are they killing people”
Example:
Enigma Code Example
“Saw”
Who is responsible?Why are they there?
Codes of behaviour and actions that lead audience us to expect certain consequences (based on other stories/films and their conventions)
Barthes – Action Code
THRILLER/MYSTERY SLASHER/HORROR ROMANCEAction:A) Killer/villain walks into room
with gun/weaponB) Girl hiding from killer/villain
Action:A) Going into dark alley or dark
stairwell/room aloneB) Being promiscuous or
flirty/suggestiveC) Virgin, good hearted female
Action:Couple realise their actions and acknowledge their mistakes to each other
Assumption: A) Victim(s) will get shot/hurtB) Girl will get found/taken
Assumption: A) Will get killedB) Will get killedC) Will live
Assumption: They will kiss and make up
Action code Examples (genre)
Connotative (connotation) meanings of characters, objects, locations
We learn from experience about these denotations & connotations
Iconographic features work in same way
Barthes – Semantic Code
Colour =RedPretty Woman American Beauty Carrie(Romance/Drama) (Drama) (Thriller/horror)
Red dress = sexuality and love/passion
Roses = sexuality/sexual desireBlood = Murder and violence
Learn from experience
Hero is handsome, manly, good hearted
Villain is disfigured, not as strong/, evil and selfish
Iconographic features have clear connotations and meanings to audience
Spaceships & Aliens = sci-fi
Iconography (sci-fi)
Symbolic features often signify oppositions and antitheses (savage/civilised, light/dark)
Ex. in Thelma & Louise = male repressive world and female escape (this is represented/expressed symbolically through interiors/actions of male/female.....male = dark, trapped, repressive, abusive......female = light, free, airy, justice etc
Barthes – Symbolic Code
Even after committed crime, have to regrets and want to keep running, keep committing crimes
Feeling positive and free after leaving repressive marriages, are together and Thelma saves Louise (free in sunshine)
Drive away in open space, drive forward (running away), don’t look backIn convertible = open space (freedom)
Even when about to get caught, drive off edge (to not be constricted in jail)
Symbolic Code ExampleThelma & Louise (females)
Symbolic Code ExampleThelma & Louise (males)
Louise’s husband is unsuccessful, abusive and controlling
The young man Louise sleeps with seems charming, but is a criminal and a thief who steals their money
The man Louise meets in a bar is drunk, creepy, abusive and rapes her after she refuses sex
Thelma’s husband has a good heart but isn’t a man of achievement or success
The truck driver who drives beside them when they are driving is a lonesome and desperate man, is restricted to be in a truck all day and night
Outside of text and knowledge we commonly share to bring understanding of the meaning in the text. Often references to things in popular culture and historical events.◦ Ex In modern adaption of 'Romeo & Juliet' there are a wide range of modern interpretations we
know as modern (were not in original story): guns, corporations, locations such as petrol stations, setting in multicultural environment, drag queens, drugs, cars, lifts, etc
Barthes – Cultural Code
We use our these cultural references to ENHANCE our reading and understanding of the text
Sometimes films are set and revolve around a particular (real) historical event or era....our understanding of these time periods or events again enhances our understanding.◦ Example: Full Monty = set in a time which is dealing with a financial recession due to
decline in traditional British industries (Think of films that are set around the events of 9/11 or other wars.
Barthes – Cultural codes
Propp
Studied folklore, fairytales and legends in many countries and noticed many similarities in them; similar character types and same problems.
He formed 2 theories, the first is about 7 distinctive character types called 'Spheres of Action'.
Because they are based on historic fairy tales and folklore, this theory might seem very recognizable and rather simplistic.
Just remember these stories are often children's tales which need to be simplistic.
Propp
1. Hero 2. Villain 3. Dispatcher 4. Donor 5. Helper 6. Heroine 7. False Hero
Propp – 7 Spheres of Action
On quest/search Traditionally male (not always) protagonist,
role is to restore disequilibrium (usually by defeating the villain for winning love of heroine (princess)
Hero
Opposes the hero (antihesis) Cause of disruption Often threat to safety of heroine
Villain
Starts hero on it's way (usually to restore the disequilibrium)
Often father of heroine He (or she) sends hero off so he can prove
his worth (often before winning love of heroine)
Dispatcher
Helps hero by giving him 'magic' tool/gift to help him on journey
The tool/gift may be advice, a skill or an object such as weapon
Donor
Assists/helps hero in restoring normality/equilibrium
Like a 'sidekick' (with for whole or part of journey...can meet on way)
Helper
Often referred to as 'Princess' in traditional narratives Usually female but not always More passive and vulnerable character; threatened by
the villain and needing rescuing by the hero Often in love (or ends up with hero)
Heroine
Initially on side of hero but then turns against or deceives him/her
Tempts hero away from quest
False Hero
N/A
Brother of King Mufasa, uncle to Simba Seems caring of Simba Tempts him but really sets him up to be
killed (so he can be King)
False Hero (Example other film)
Of course these character roles are manipulated and changed in films and texts (or some not there at all) and others will use more updated/modern versions for example different representation/actions of heroine to suit more modern contexts which reflect the changing role of women in society.
Examples of Female Protagonists in Action genre: Thelma & Louise (hero and heroines)
Alien franchise + Kill Bill (power is weakened by maternal instincts)
While these female characters are vulnerable, they at least have become more dominant in terms of their role and importance to the plot rather than simply being a prize to a male hero. They have their own weapons, fight scenes, so therefore the Spheres of Action (character roles) have become more blurred.
Propp – Evolution of characters