2. Todorov
Izetan Todorov was a Bulgarian philosopher who looked at how the narrative
in a film works, developing a theory in 1969
His theory suggested that stories begin with an equilibrium in which
everything is balanced and the protagonist is perfectly happy
This is then disturbed by something with causes problems in the film and has
to be fought or changed to bring a new equilibrium to the story
He suggested that conventional narratives are structured into 5 stages:
• A state of equilibrium
• A disruption
• A recognition that order has been disrupted
• An attempt to repair the damage caused by the disruption
• A new equilibrium
3. This type of narrative structure is commonly seen throughout many films
For example: in The Hobbit, one of the main plots following this theory is
that of Bilbo Baggins of Bag-End. We see Bilbo happily living out his life as a
hobbit in the Shire (equilibrium) before being rudely interrupted by Gandalf
arriving and trying to persuade him to leave his home, shortly followed by
the arrival of 13 dwarves who take over his home and eat all of his food
(disruption). Bilbo agrees to join them on their journey to kill the dragon
Smaug and return their gold (recognition of disruption) as this is how he
will be able to return to his quiet life
(attempt to repair equilibrium). All
of this is achieved and he is able to
return to the Shire as a hero, able to
grow old as a content hobbit (new
equilibrium).
4. Levi-Strauss
Claude Levi-Strauss was a French anthropologist who came up with
the theory that narratives are constructed around binary opposites
He believed that in films, conflict is based around binary opposites,
and the binary opposites are the centre of a narrative structure
For example; good vs. evil, black vs. white, male vs. female, night vs.
day, dark vs. light, protagonist vs. antagonist, humanity vs.
technology.
He argued that all narratives could be reduced down to basic binary
opposites. However, whereas this may be true for most films, in one
genre it seems to oppose it; in psychological thrillers the lines seem
to be blurred as reality is often an aspect that is hard to distinguish.
Something that may appear to be good often ends up being corrupt
or distorted in some way.
5. Barthes
Roland Barthes was a semiologist, meaning he looked at how texts were put
together. He believed media texts contained many meanings and ways to be
unravelled and once unravelled we encounter a variety of ways to interpret
the potential connotations of them
He said that a text may either be open or closed: an open text has many
different meanings or interpretations, whereas a closed text only has one
obvious way to look at it
He also thought that texts contained a combination of 5 different codes:
• Enigma/Hermaneutic code
• Action/Proairetic code
• Symbolic code
• Semantic code
• Cultural/Referential code
•
6. Enigma/Hermaneutic code: an element in the film that isn’t explained to
the audience, acting as a mystery for the audience who want to know more.
Clues may be given but no clear answer until the end or possibly at all.
Action/Proairetic code: action that moves the narrative along. Adds
suspense to the text and a resolution may be produced through action.
Symbolic code: looks at symbolism within the text. Often portrays
opposites to show contrast and create meaning, as well as creating
suspense, tension and character development.
Semantic code: parts within the text that have an additional connotation to
what the audience may first interpret it as.
Cultural/referential code: the text refers to additional knowledge that the
audience has. The audience may recognise it as being part of a culture or
something they recognise due to outside knowledge of the world.
7. Kubrick
Stanley Kubrick was an American film director who directed many famous
films such as The Shining, A Clockwork Orange, Eyes Wide Shut, Full Metal
Jacket and 2001: A Space Odyssey.
He believed, or realised, that all a film needs is 7 non-submersible units in
order to engage the audience. These were parts of the film that created a
strong enough impression on the viewer that they couldn’t ignore or forget
it.
All the non-essential elements have been stripped away and the audience
are left with a part that is so compelling that it is able keep them interested.
When joined together these parts create a great narrative.
“I think the best plot is no apparent plot. I like a slow start, the start gets
under the audience’s skin and involves them so that they can appreciate
grace notes and soft tones and don’t have to be pounded over the head
with plot points and suspense hooks.”
