This document discusses narrative structure in media texts. It explains that narrative is the telling of a story and explores linear and non-linear narrative formats. It also analyzes the common three-act narrative structure used in mainstream Hollywood films and how genres employ familiar codes and conventions to shape audience expectations.
2. Narrative is….
A) the telling of a story
B) the story
C) the plot
D) all of the above
3. Answer is…..A
A) the telling of a story
Or
-the way the story is told
-message that tells the particulars of an act or occurrence or course of
events
-a chain of events in a cause-effect relationship occurring in time
Ex. Girl is lonely, goes out for coffee, gets lost, needs help, asks a man
for directions, they fancy each other, he asks her out, they go on
date, they fall in love, get married, the end. (girl in love (cause)
causes things to happen (effects)
5. Story, plot, event
STORY/PLOT =
all events referenced both explicitly
(clearly/obviously) in a narrative and understood
and summarized
Events =
something that happens in story to character,
something that impacts them, (usually they have
very little control)
Ex. Character getting hit by a car
6. Action and events
An action is something a character does to
themselves, an object or another character.
An event is something that happens to the
character. (Example being hit by car (unless
another character intentionally hit another
character on purpose then it is action)
A narrative is usually a serious of events and
actions and the audience‟s expectations at any
stage are often related to the pattern of events
and actions taking place.
7. Think of narrative structure of fairy
tales (linear)
1. (I) Once upon a time…
2. (C) Girl is born to lovely parents
3. (J) Girl‟s parents die in a tragedy
4. (F) Girl is living her daily life as a poor girl, but she is happy, giving,
beautiful and one with nature
5. (G) She suffers an unfair loss, (maybe by villain) (audience feel
sympathy)
6. (K) A prince discovers her and falls in love with her
7. (H) They separate and because they are star cross‟d lovers she runs off,
but he is determined to get her
8. (A) A massive heroic battle occurs between villain and prince
9. (B) Prince wins and prince accepts girl for who she is and they are in
love
10. (E) Prince and girl get married and she is now princess
11. (D) And they lived happily ever after.
8. Intro to narrative
Our experiences of film and fictional TV lead us to form expectations
based on the type of text that we are watching, which in turn enable
us to make sense of what we watch and „read‟ from the text. We
form expectations based on GENRE, CHARACTER, STYLE, and
FORMAT, and even the INSTITUTION that has produced the text.
Our expectations regarding narrative relate to one of the most basic
human activities: storytelling, the casual relationship between one
event and another. Just as we are able to „report‟ on our own lives,
we also become skilled/familiar at a very early age at engaging with
the plot of a TV programme or film. Most fictional narratives also
fulfill another basic psychological need for a resolution to any event,
although the journey toward this resolution and the time taken to
reach it differ between texts, (example a drama film and a comedy
sit-com are different).
We watch so much TV/film that we might get bored with the certainty of
this cause/effect structure, but we enjoy anticipating the sequence
of events and the potential resolution, and there are of course, more
challenging texts which both confuse and/or amaze our
expectations.
9. Where else is narrative?
Think of Shakespeare, how is play divided?
ACT 1
ACT 2
ACT 3…
Can you think of any other narrative styles?
What about books?
Video games?
Advertising?
10. Narrative theory (intro)
Narrative theory involves studying the conventions and
structures of stories represented in the media. Films and
fictional TV shows are comprehensible (understandable,
logical, clear) and therefore enjoyable because they tell
fictional stories which are organized in ways that reflect the
patterns and structures of our „real‟ lives.
This pattern of events in a film reflects the chronology (order) of
real life, but more importantly, the causality (cause – why
things happen).
David Bordwell says “Action triggers reaction: each step
has an effect which in turn becomes a new cause.” It is
this motivational relationship between events that creates
narrative. We become involved with the chain of events and
start to anticipate their progress and possible conclusion.
11. Hollywood/mainstream films
Most mainstream films will tend to have plots which follow the
chronological chain of story events.
Example: Sleeping Beauty (starts with birth, growing up, meeting and
process of falling in love)
However, many examples of films do not follow this format.
Example: Momento (works backwards in time revealing past events to
give clues/answers of his initial actions
This text is a challenge to modern audiences who are still
fundamentally expecting linearity. (linear = like a line, obvious
order: beginning to end)
However, it is a useful example of how narrative structures can reflect
the mood, and in this case, confusion of a story. (just like how the
main character feels) If this film was told chronologically, this
narrative would have far less impact and just be another typical
crime film.
12. Linear/non-linear
Linear narrative:
-narrative where time is presented chronologically
(in order)
Non-linear narrative:
-narrative where time is not presented chronically in
order to communicate desired effects
(Example: film starting with a flashback) and then
going forward in time to when was thinking about
that event)
13. Genre
Whenever we receive a media text, our response
to that text are framed by the genre of the text.
We expect certain things of the text, depending on
the genre. If we are receiving an action film, what
do you expect?
-
-
-
-
14. Codes and conventions
Associated with any genre are codes (iconography) and
conventions. This means textual codes which give
meaning to an audience and the conventions of the
genre, such as the themes, ideologies or narratives,
which are used or subverted by the text.
These codes and conventions are important for the
audience (because they know they are likely to be used
in a text within this genre) and also the institution
because there is a genre framework for the text and it is
more likely to attract audiences.
15. Link to Stam‟s theory
Think of Grant‟s theory: “…allows audiences to identify
them specifically by their familiar and what become
recognizable characteristics”
The film industry relies on audience‟s understanding and
familiarity of GENRE and their familiar codes and
conventions.
Example
MARKETING: relies on audience familiarity (horror film
posters and trailers (they know we recognise the iconography
and connotations of them)
Narrative is a one of the familiar codes and conventions. You
already have expectations of how a story is going to be told
16. Common narrative structure
(Hollywood/mainstream films)
ACT 1 = (beginning) …….(set up)
introduction to story/characters, everything is „ok‟ (audience feel
ok), end of 1 = start to „crisis‟
ACT 2 = (middle) ……….(conflict)
height of crisis (audience feel worried) working towards
resolving the crisis
ACT 3 = (end) ……..(resolution)
happy resolution and everything is „ok‟ (audience feel happy)
*Think of how relates to Grants theory = must be familiar and recognizable codes and
conventions
*Think of how this relates to Chomsky (to diverge audience from real problems/hard-
hitting texts)
19. PROS CONS
Identify the pro‟s/con‟s…. (minimum 4 bullet points each)
PROS OF CONVENTIONAL FILM
NARRATIVE MODEL
CONS OF CONVENTIONAL FILM
NARRATIVE MODEL
20. Task
1) How does/doesn‟t your AS opening sequence apply this
format/structure?
2) How does/doesn‟t your A2 documentary apply this
format/structure?
3) How does/doesn‟t your A2 ancillaries apply this
format/structure?
Extension: why has the text been formatted this way?
