This document provides an overview and analysis of various narrative theories including those proposed by Todorov, Levi-Strauss, Barthes, Propp, and Cameron. It discusses the key concepts of each theorist such as Todorov's 5 stages of narrative, Levi-Strauss' concept of binary oppositions, Barthes' codes, Propp's 7 character types and 31 functions, and Cameron's modular narratives. Examples are given for each concept drawing from films like The Hunger Games.

1. By Laura Cuk
Assignment 8: Narrative theory

2. PART A: Todorov

3. Todorov Narrative Theory
-
Todorov suggested that stories begin with an equilibrium (or normality).
-
This is disrupted by an event which causes a disequilibrium which then causes
other chain of events to occur.
- In the end the problem is solved and everything is restored back to its equilibrium.

4. Task 1
This is the first task for Todorov's
theory.
I had to analyse disruption/conflicts
and then the resolutions in each of
these genres.

5. Todorov suggests that there are 5 stages
of narrative:
 Equilibrium (or normality).
 Disequilibrium (conflict/disruption of equilibrium by
action or event).
 Recognition of Disequilibrium (disruption/conflict).
 Attempt to repair.
 New Equilibrium.

6. Task 2
An example of a film with these five
stages is ‘The Hunger Games’.

7. Equilibrium
In the beginning of the film everything is at equilibrium and its just introducing
the main protagonist.
The main protagonist
- Teenage girl
Katniss has gone
beyond her district to
hunt in the forest.
Her hunting in the woods represents her
practice for the Hunger Games if she
was ever to be chosen.

8. Disequilibrium
Then we have the disequilibrium/disruption caused by the event when Katniss’ sister
gets chosen to be tribute. Katniss then volunteers as tribute. This is a sign of self-
sacrifice.
Her relationship with her sister is very strong.
Katniss was willing to sacrifice her own life to
save her sister.

9. Recognition of disequilibrium
Katniss then recognises what she has gotten herself into.
Katniss knows that she probably might not be able to
see her family again.
The tragic part of this is that she doesn’t have much
time to say goodbye.
She promises her sister that will try and win the game
for her.

10. Attempt to repair disequilibrium
Katniss attempts to live throughout the film.
She is surrounded by difficulties.
Examples:
The game makers create a huge fire to The death of little Rue, makes Katniss’
kill or lure Katniss to the centre of the character seem to become more stronger
game where the other district are. and more determined to win the game.

11. New equilibrium
In the end, Katniss and her companion Peeta win the game together. Katniss then
returns back home to her family and friends.
This is the scene where Katniss and Peeta win
the Hunger Games.

12. PART B: Levi Strauss

13. Levi-Strauss example
This is an example of what Levi-Strauss meant by the oppositions in film:

14.  He believed that our world is described in BINARY
OPPOSITES.
 When we look at themes within stories they consists of
differences, contradictions and conflict or opposites.
BINARY OPPOSITES
night day
Young old
Good Bad
light dark
male female

15. Genre: Drama
Film: Opposite 1 Opposite 2 Explanation
PS: I Love You Husband who has Wife is alive, healthy. The husband had a brain tumour.
died. He dies. The wife discovers many
letters that the husband wrote to
her before his death.

16. Genre: Action
Film: Opposite 1 Opposite 2 Explanation
Spiderman Spiderman is seen as a Costumes presents the character as a It is conventional to see binary
hero. He saves the victim. binary opposite to Spiderman. The opposites in Action films because there
costumes mask shows that the green is always a hero and a villain.
goblin is rebellious and evil.
Sometimes it can be between the hero
and his sidekick.

17. Genre: Horror
Film: Opposite 1 Opposite 2 Explanation
The Ring The girl (creature) The woman and the child It is conventional to see
climbing out of the TV is are both victims. binary opposites in Horror
the villain. films because there is
always a victim(s) and a
villain.

18. PART C: Barthes

19. Barthes theory
Barthes theory is similar to Todorov’s theory. The audiences experience of
the narrative involves anticipation and expectation of a resolution to
disruption/conflict

20. Barthes theory continued…
Barthes theory of codes encourage the audience to seek answers and clues to make
them anticipate the outcomes.
These codes are identified as the:
- Enigma code
- Action code
- Semantic code
- Symbolic code
- Cultural code

21. Barthes – Enigma code
Key word: Enigma
Enigma means a question that is not immediately answered and thus draws an
audience into a text.
An example of an enigma code would be from the film:
SAW 3
Who is behind this? Who is responsible?
Why is there chains attached to this characters body?

22. Barthes – Action code
Codes of behaviour and actions that lead audiences to expect certain consequences.
Romance Thriller/Mystery Action
Action: Action: Action:
They are on the edge of the boat Killer/ villain tries to find victim. Hero (spiderman) and villain(green
imagining they are flying above the water. Girl is shown hiding from the killer. goblin)battle.
Assumption: Assumption: Assumption:
They gaze into each others eyes and kiss Villain will find the victim. One character always dies.
passionately. Then fall in love. Villain will kill the victim. The villain is always destroyed by the hero.

23. Barthes – Semantic code
Connotative meanings of characters, objects, locations.
Example: COLOUR
Red dress Blue lighting
The colour red represents The colour blue in this
sexuality, passion and scene connotes that it is
love. sterile.
Romance film (Pretty Woman) Horror/Mystery/Thriller film (The Ring)

24. Barthes – Symbolic code
Symbolic features often signify oppositions and antithesis.
An example of the symbolic code would be the film ‘Texas Chainsaw Massacre’.
FEMALE VICTIMS MALE VILLAINS
Female victims connote vulnerability.

25. Barthes – Cultural code
Outside of text and knowledge we commonly share to bring understanding of the
meaning in the text.
It is often referred to things in popular culture or historical events.
Example of a film that uses the cultural code is ‘Romeo & Juliet’.
In the film ‘Romeo & Juliet’ there are a wide range of modern interpretations we knows as modern.
Examples: the petrol stations, multicultural environment, locations, drugs, guns etc.

26. Part D: Propp

27. Propp’s theory
Propp studied folklore, fairy tales and legends in many countries.
Propp noticed many similarities in them such as:
-
Similar character types and same problems.
Propp formed 2 theories.
1st – 7 distinctive character types called ‘Spheres of Action’.
2nd – 31 functions
REMEMBER:
These stories are often children’s tales which need to be simplistic.

28. Propp – 7 ‘Spheres of Action’
These are the following 7 distinctive character types:
1. Hero
2. Villain
3. Dispatcher
4. Donor
5. Helper
6. Heroine
7. False hero

29. Propp – Hero
The hero is on a quest.
A hero is traditionally a male (not always) because they are the more dominant
gender role.
The heroes role is to repair the disequilibrium by defeating the villain(s).
In the film ‘The Hunger Games’ Katniss Everdeen is represented as the hero

30. Propp - Villain
The villain(s) opposes the hero.
The villain(s) is the cause of disruption/conflict.
The villain(s) is commonly known as a threat to the heroines safety.
These characters are portrayed as the villains. I believe this character is the main villain.
They look more stronger and dominant. This character invented the game.
They look at the fellow competitors as if they were a This character allows the people to die and doesn’t
meal(weaklings). show any sympathy.

31. Propp - Dispatcher
The dispatcher starts the hero on its way to restore the disequlibrium.
Usually the dispatcher is the father of the hero or the heroine.
The dispatcher sends the hero off to show and prove their worth.
In the film ‘The Hunger Games ‘ Cinna is Katniss’ impressionist designer.
Cinna is represented as paternalistic (father figure).
Cinna sends Katniss on her way to prove her strength and her might throughout the games.

32. Propp – Donor
The donor helps the hero by giving them some sort of gift to help them on their journey.
This gift can be either advice, a skill or an object (like a weapon).
In this scene, Haymitch is giving Katniss advice before she enters the game.
Haymitch tells Katniss what she must do and what she must not do when the game begins.

33. Propp - Helper
The helper assists the hero in repairing the normality/ equilibrium.
The helper is somewhat a sidekick to the hero.
The helper is either with the hero all the time or someone the hero meets along the way.
An example of a helper is the little girl ‘Rue’
in the film ‘The Hunger Games’.
In this scene, Katniss is stuck in a tree.
The villains from the other districts are down below
waiting for Kanitss to come down so they can kill her.
Rue is in the tree next to Katniss and points Katniss to
the bee nest and tells her to chop the branch down so
the nest will fall on the ones below.

34. Propp - Heroine
The heroine is commonly known as the reference to princess.
The heroine is usually a female in the traditional narratives (but not always).
The heroine is usually the vulnerable character who is under threat by the villain and
seeks the rescuing from the hero.
The heroine is known for being in love with the hero and ends up with the hero.

35. Propp – False hero
The false is initially on the same side as the hero but them deceives and betrays the
hero.
The false hero usually tempts the hero away from his/her quest.
There is no false hero in the film ‘The Hunger Games’.
Here is an example of a false hero from another film:
Cinderella’s stepsisters are the false heroes.
At the time of the ball, Cinderella is ready to go.
The stepsisters prevent Cinderella from arriving at the ball by destroying her dress
into shreds.
This drags Cinderella away from her quest to meet the Prince.

36. Propp – 31 functions
This is Propp’s 2nd theory.
Propp identified
31 functions which
motivate the story
and structure of
the narrative.

37. Part E – Other terms

38. Diegesis
The internal world created by the story that the characters themselves experience and
encounter.
To sum up, it means the world the characters live in, which is shown through TV or film.
Avatar is a film that includes diegesis.

39. Narrative range – Unrestricted
Unrestricted narration is a narrative which has no
limits to the information that is presented. It does
not hide any pieces of information from the
audience.
This documentary film is a look at the annual
journey of Emperor penguins as they march --
single file -- to their traditional breeding
ground.

40. Narrative range - Restricted
Restricted narration only offers minimal information regarding the
narrative. It does hide some information from the audience.
Restricted narration hide some information to create an enigma or
mystery.
This is usually seen from thriller films.
The Ring is a restricted film
because it hides the information
of who this girl is.

41. Part F – Modular narratives
(Cameron)

42. Modular narratives (in contemporary
cinema)
Modular narratives express a sense of time which can be detachable and may
have manipulation.
The different types of modular narratives are:
- Forking path
- Episodic
- Anachronic
- Split screen

43. Modular narrative – Forking
path
The forking path narrative introduces a number of plotlines that usually
contradict one another.
A film that has the modular narrative of a forking path is
‘Sliding Doors’.

44. Modular narrative – Anachronic
Modular narratives involve the use of flashbacks and/or flash-forwards.
There is no clear dominance between any of the narrative threads.
These narratives often repeat the scene directly or through a different perspective.
A great film example would be 4321
Person B Person C
Person A
Person D