3. Suggested there are 5stages of narrative: (with 3
major parts)
1. EQUILIBRIUM (or normality)
2. DISEQUILIBRIUM (conflict/disruption of
equilibrium by action or event
3. Recognition of DISEQUILIBRIUM (disruption/conflict)
4. Attempt to repair disequilibrium
5. NEW EQUILIBRIUM (new normality)
Simply, it is the equivalent to the classic structure of
beginning, middle, end.
4.
5. 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.
6. THINK OF DIFFERENT DISRUPTIONS/CONFLICTS
AND RESOLUTIONS FOR DIFFERENT GENRES:
Drama
Action
Horror
Sci-fi
Thriller
Complete this for YOUR genre
7.
8. 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
9. HERO VILLAIN
Good Evil
Native Outside
Love Hate
Handsome Ugly
One of the most obvious opposites in film is the opposition of hero/villain
12. 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
13.
14. 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
15. 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)
16. Usually thriller, mystery based in which the
question is “Who is the killer” and/or “Why are
they killing people”
Example:
“Saw”
Who is
responsible?
Why are
they there?
17. Codes of behaviour and actions that lead
audience us to expect certain consequences
(based on other stories/films and their
conventions)
18. THRILLER/MYSTERY SLASHER/HORROR ROMANCE
Action:
A) Killer/villain walks into room
with gun/weapon
B) Girl hiding from killer/villain
Action:
A) Going into dark alley or dark
stairwell/room alone
B) Being promiscuous or
flirty/suggestive
C) Virgin, good hearted female
Action:
Couple realise their actions and
acknowledge their mistakes to
each other
Assumption:
A) Victim(s) will get shot/hurt
B) Girl will get found/taken
Assumption:
A) Will get killed
B) Will get killed
C) Will live
Assumption:
They will kiss and make up
19. Connotative (connotation) meanings of
characters, objects, locations
We learn from experience about these
denotations & connotations
Iconographic features work in same way
20. Pretty Woman American Beauty Carrie
(Romance/Drama) (Drama) (Thriller/horror)
Red dress =
sexuality and love/passion
Roses = sexuality/sexual desire
Blood =
Murder and violence
22. Iconographic features have clear connotations
and meanings to audience
Spaceships & Aliens = sci-fi
23. Basically, it is the symbolism attached to
images. Example = the title and concept of the film „fish tank‟ is symbolic that the main
character is like a trapped fish in a tank……….OR……..soft top car = freedom
Symbolic features often signify oppositions
and antitheses (savage/civilized, 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
24. 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 back
In convertible = open space (freedom)
Even when about to get caught, drive off
edge (to not be constricted in jail)
25. 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
26. 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
27. 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.
28.
29. Studied folklore, fairytales and legends in
many countries and noticed many similarities
in them; similar character types and same
problems.
He formed a 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.
31. On quest/search
Traditionally male (not always) protagonist,
role is to restore disequilibrium (usually by
defeating the villain for winning love of
heroine (princess)
32. 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)
33. Opposes the hero (antihesis)
Cause of disruption
Often threat to safety of heroine
34. 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
35. Assists/helps hero in restoring
normality/equilibrium
Like a 'sidekick' (with for whole or part of
journey...can meet on way)
36. Initially on side of hero but then turns against
or deceives him/her
Tempts hero away from quest
N/A
37. 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)
38. 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)
39. 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.
41. The internal world created by the story that
the characters themselves experience and
encounter.
(The world the characters live in (in TV/FILM).
42. Unrestricted narration
A narrative which has no limits to the information
that is presented (gives as much info as possible,
not hiding any pieces of information to audience
(unrestricted) i.e. a news bulletin.
Restricted narration
Only offers minimal information regarding the
narrative (offering little amount of narrative
which hides some information from audience
(perhaps to create enigma/mystery) i.e. thrillers
44. “Express a sense of time which can be
detachable and may have manipulation”
(where time is not linear)
45. Juxtapose alternative versions of a story,
showing the possible outcomes that might
result from small changes in a single event or
group of events. The forking-path narrative
introduces a number of plotlines that usually
contradict one another.
Examples include Groundhog Day, Sliding
Doors
46.
47. Organised as an abstract series or narrative
anthology (collection of multiple stories).
◦ Anthology consists of a series of shorter tales which
are apparently disconnected but share a random
similarity, such as all „episodes‟ being survivors of a
shipwreck.
◦ Abstract series is characterized by the operation of a non-narrative formal system
which appears to dictate the organization of narrative elements such as a sequence of
numbers or the alphabet. (this one is very complex!)
48. Modular narratives involve the use of
flashbacks and/or flash-forwards, with no
clear dominance between any of the narrative
threads. These narratives also often repeat
scenes directly or via a different perspective.
Examples include:
Pulp Fiction & Memento & 4-3-2-1.
49.
50. Different from the other types of modular
narrative discussed here, because their
modularity is articulated along spatial (space)
rather than chronological or time-based lines.
These films divide the screen into two or more
frames, juxtaposing events within the same
visual field (all in 1 screen)
Examples include Timecode, Snake Eyes, Kill Bill,
127 Hours,
Snake Eyes: http://www.youtube.com/watch?v=OzaBztLaGD4
51. Choose AS or A2 c/w……….30 mins (2 pages)
Discuss narrative and narrative theory in relation to NARRATIVE.
Todorov
Levi-Strauss
Barthes
◦ Enigma Code
◦ Action Code
◦ Semantic Code
◦ Symbolic Code
◦ Cultural Code
Propp
Bordwell
Cameron?
