Narrative Theory

2. ROLANDBARTHES

3. Barthes Enigma Code
• Barthes' Enigma Code is a theory that
suggests a text (whether that be television,
film, a poster etc) portrays a mystery to
draw an audience in, pose questions and,
as such, become intrigued in the piece.
For instance, a murder mystery will often
not reveal the identity of the murderer until
the end of the story, which poses the
question "Who is the murderer?"

4. TZVETANTODOROV

5. Todorov’s 5 Stages of Narrative
• The theory of Equilibrium and
Disequilibrium
• The theory is simply this:
The fictional environment begins with a state of
equilibrium (everything is as it should be) It then
suffers some disruption (disequilibrium) Usually
within a narrative new equilibrium is produced at
the end, with order pleasingly restored.

6. So, in Todorov’s eyes there are various phases a
Horror narrative could progress through:
1. We begin with a pleasant state of equilibrium (all is ordered as it should
be and civilised Western morality dominates)
2. There is a disruption of that order by a disastrous event or the (violent)
actions of the antagonist (who we can refer to as the agent of disruption /
disequilibrium)
3. A further dramatic series of disruptions and conflicts occur as greater
chaotic and bloody disequilibrium is created by the antagonist
4. The protagonists attempt to survive / weather the storm and fight the
disequilibrium
5. One protagonist is stronger, purer, wiser or more resourceful. He/she
attempts to repair the damage of the disruption and tries to end the
disequilibrium
6. A return or restoration of a NEW ordered equilibrium is achieved by our
heroic protagonist, usually through the death of the antagonist

7. VLADIMIRPROPP

8. • Vladimir Propp, a Russian critic was active
in the 1920’s
• He identified a theory about characters as
performing narrative functions.
• Characters, according to Propp, have a
narrative function; they provide a structure
for the text, the story is built around them.

9. The eight character types by Propp
• The villain
• The hero – he/she seeks something, motivated by
an initial ‘lack’
• The donor – provides an object with magical
property
• The helper who aids the hero
• The princess – the reward for the hero
• Her father – who rewards the hero
• The dispatcher- who sends the hero on his way
• The false hero

10. Which of the 8 types is
each character?

11. In the main there are two broad types of Propp’s characters that populate a
film narrative and that are very relevant to us - heroes and villains or, to put
it another way…
– PROTAGONISTS
– ANTAGONISTS
A protagonist is the main or lead character(s), usually the hero
An antagonist is someone who opposes or is hostile to another person
Usually a horror will be structured around a conflict between the
protagonists and what they stand for and the antagonists and what they
represent

12. Identification and empathy
When we relate strongly to an onscreen character and mentally put
ourselves in their position /want to be like them we are said to identify with
them. Filmmakers tend to encourage us to identify with a horror film’s
protagonist(s) using a variety of techniques.
For instance, in The Hills Have Eyes, the early shots showing the
protagonist characters with the baby encourage us to view the family as a
caring, good-hearted unit that we should identify with.
Similarly, when ‘Bob burns’ we see their distress and understand that they -
unlike the bird-biting antagonists - respect life and are compassionate.
Because of this we feel inclined to identify with them as opposed to the
other grotesque characters we encounter and are actively encouraged to
dis-identify with.
Empathy is another useful word to consider. Empathy is the capacity for
understanding and sharing another’s feelings or ideas. If we empathise with
someone we share their feelings. Most of the time we are given greater
access to the protagonist’s thoughts and feelings to encourage this bond of
empathy.
HOW ARE WE ENCOURAGED TO IDENTIFY WITH AND EMPATHISE
WITH THE PROTAGONISTS IN AN AMERICAN WEREWOLF IN LONDON
(Chapter 3 >)?

13. LEVISTRAUSS

14. • Strauss’ theory was that narratives are structured around the conflict
between Binary Opposites (clear contrasts) I.e.
Hero Vs Villain
Good Vs Evil
Human Vs Inhuman
Humane Vs Inhumane
Beautiful Vs Ugly
Innocent Vs Corrupt
Modern Vs Archaic
Town Vs Nature
Civilisation Vs Barbarity
• It is also worth considering how these oppositions are resolved.
• Does good triumph over evil? Which side of the opposition is
backed/supported by the narrative?