The document discusses narrative structure in film and how films tell stories. It explains that narrative form provides the structure through which movies convey plots and that narratives are common in many types of media from novels to television shows. The narrative typically involves a string of causally connected events that unfold over time, beginning with an initial situation and equilibrium that is disrupted by a change in events, leading to a new conclusion and restored equilibrium. Key elements of narrative structure in films are also outlined, including exposition, rising action, climax, falling action, and resolution.

1. Narrative Structure in Film
How Films Tell Stories

2. WWhhaatt iiss NNaarrrraattiivvee FFoorrmm??
 Narrative form is the
structure though which
movies tell stories.
 When we speak of ‘going
to the movies,’ we almost
always mean that we are
going to see a narrative
film – a film that tells a
story.

3. NNaarrrraattiivveess aarree EEvveerryywwhheerree
 Narratives appear throughout media and
society – in novels, plays, comic books,
television shows and even commercials.
 Narratives are most common in fiction film,
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but appear in all basic types of film:
 Documentaries
 Animated films
 Experimental and avant-garde films
 Short Films

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 A narrative is an account of a string of events
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occurring in space and time.
 Narratives do not unfold randomly, but rather
as an ordered series of events connected by
the logic of cause and effect.
 This logic of cause and effect ties together
character traits, goals, obstacles and
actions.

5. The Narrative Structure

6. The Narrative Structure
•Exposition – meeting the characters, establishing the setting, setting
the tone – establishing the normal of the film world
•Rising Action – the central conflict is introduced and the tension
between the protagonist and the antagonist begins to mount
•Climax – The climax is the turning point, which marks a change, for
the better or the worse, in the protagonist’s future.
•Falling Action – The major action has happened. This is the
aftermath . This is the sorting out of the major conflict’s resolution.
•Dénouement/Resolution – the creation of the new normal. The
conflict is resolved

7.  Typically a narrative begins with one situation
(Exposition).
 A series of changes occurs according to a
pattern of cause and effect.
 Finally a new situation arises – through
character choice and conflict – that restores
equilibrium to the world of the story and brings
about the end of the narrative.
 The new story equilibrium almost always results
in character change.
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HHooww NNaarrrraattiivvee UUnnffoollddss

8. Tzvetan Todorov

9. EExxaammppllee
1. The Star Wars films begin with the protagonist (hero)
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Luke Skywalker hiding from the Empire.
2. The Empire find and kill his family
3. Luke Skywalker realises that he must stand up to the
Empire.
4. Story changes that result from conflict and character
choice force him into a climactic showdown with
antagonist (villian) Darth Vader and the Emperor.
5. Skywalker, Vader and the rebels triumphs and equilibrium
is restored.
6. Though Luke loses his father, he changes by becoming
wiser and more humble, he is a very different man by the
end

10. CChhaarraacctteerr
 Narrative films generally focus on human characters and
their struggles.
 Characters are typically responsible for cause and effect
in narrative.

11. 11
CChhaarraacctteerr TTrraaiittss
Traits are attitudes, skills, habits, tastes,
psychological drives and any other qualities that
distinguish a character.
Traits in opening scenes are relevant to later
scenes; this is related to cause and effect.

12. 12
EExxaammpplleess
In The Star Wars films, Luke’s character traits
are introduced early on and pay off in later
scenes.
They include his knowledge of the Force, his
survival skills, his ability with a light saber, and
his impetuousness.

13. CChhaarraacctteerr:: CChhooiicceess aanndd GGooaallss
 Characters create cause and effect through
choices that lead to conflict and consequences.
 These patterns are designed so that the viewer
clearly sees and understands them.
 Characters posses traits, face conflicts, make
choices and undergo changes that enable or
hinder pursuit of a specific goal.
 You will need to establish traits, choices and
goals in your opening two mins

14. CChhaarraacctteerr:: GGooaallss aanndd oobbssttaacclleess
 Goals might include solving a crime, getting
revenge, finding a missing perosn.
 Characters encounter obstacles in pursuing
these goals – the collision of goals and obstacles
create conflict and thus drama.

15. 15
SSeelleeccttiinngg aanndd OOrrggaanniizziinngg EEvveennttss
 Feature films have a running time or screen
time of between 90 and 180 minutes. But the
stories they tell rarely take place in that amount
of time.
 In order to tell a story that may cover months or
years, the filmmakers must choose to present
certain events and leave others out or reorder
events.
 This is extremely true in the case of thriller films
where the narrative is often extremely complex

16. 16
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 The writer transforms a complete chronological
story into an abbreviated, recognized version of
events that plays out on the screen for the
audience.
 Often the differences are referred to as story and
plot.

17. 17
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 The story is the chronological narrative, in its
entirety.
 It include events that take place during the span
of time of the plot that are implied (backstory) but
not always shown in detail

18. 18
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 The plot entails more than simply omitting events
from the story – it also involves reordering events
– some times using flashbacks and
flashforwards.
 Repositioning events influences the way
audiences understand them and is often used in
thriller films to create confusion, suspense, and
mystery.

19. Levi-Strauss and binary oppositions.
 Claude Levi Strauss, a French theorist (not
the jeans!) gave media studies a number of
influential theories that help us to understand
how meaning is established quickly in
openings.
 Binary Oppositions create meaning through
establishing what something is not. We
understand the world through a system of
power weighted oppositions and it is often
these oppositions that drive the narrative.

20. Binary Oppositions
 Man vs Woman
 White vs Black
 Young vs Old
 Hero vs Villain
 West vs East
 Good vs Bad
 Which of these lists have the most power?

21. TThhrriilllleerr FFiillmmss aanndd NNaarrrraattiivvee
Thriller Film is a genre that revolves around anticipation
and suspense. The aim for Thrillers is to keep the
audience alert and on the edge of their seats. The
protagonist in these films is set against a problem – an
escape, a mission, or a mystery. No matter what sub-genre
a Thriller film falls into, it will emphasize the danger
that the protagonist faces. The tension with the main
problem is built on throughout the film and leads to a highly
stressful climax.
As media students you need to know HOW to achieve
this

22. Specific Narrative features of Thrillers
 Plot twists and turns – complex, makes audience work
 Flashbacks – dark past, adds to characters, confusion
 Narrative retardation – confuses the audience, makes them
work
 Red herrings - confuses the audience, makes them work
 Chases / pursuits – tension/ excitement
 Mysterious characters - shady past / duplicitous / unsure of
intentions, keep audience guessing
 Deadlines - bomb timer, ransom demands, creates tension
 Morally complex characters - makes the audience work
 Enigma codes
 Cliff hangers – tension, suspense, anxiety
 Misdirection - confuses the audience, makes them work
 Multiple lines of action – confusion, makes audience work

23. The Opening of Shutter Island
 Watch this opening carefully looking for key
narrative features (up to 8:48)
 In your groups discuss and apply general
narrative theory and specific narrative
conventions of Thriller – in what ways is
Shutter Island using general narrative
theories, developing them, challenging them.
 How typical ‘Thriller’ is it?

24. The Set Up
 What does the set up reveal to the audience about
setting? Where is this place? What gives you
information?
 What does the set up reveal to the audience about
characters? Choose one character and explain HOW
the set up reveals this information.
 What does the set up reveal to the audience about
interrelationship between characters? About their goals?
Are there any things you learn here that become
important later on?
 What is this ‘world’ like? Safe? Happy? Dangerous?
How do you know?
 What possible conflicts or strains are there that will
become part of the story later on?
 How does this film opening fit with the codes and
conventions of Thriller films?