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Assignment 8 narrative theory
- 1. Assignment 8: NarrativeTheory Chelsea Fashole-Luke
- 2. Part A: Todorov’sTheory Suggests there are 5 stages of narrative: 1. Equilibrium 2. Disequilibrium 3. Recognition of disequilibrium 4. Attempt to repair disequilibrium 5. New equilibrium
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- 4. Task 2: (To identifyTodorov’s theory in relation to a film) • Normal teenage guy decides to take the law into his own hands after being attacked one too many times. • Teams up with ‘Big Daddy’ and ‘Hit Girl’ to take on the big gang leaders of the city.
- 5. Equilibrium We are shown a normal high school as a wide shot. A normal group of friends. Main character: average teenager A stereotypical class at a school.
- 6. Disequilibrium Gangs and knife/gun crime consumes the city. Innocent victims are robbed Stereotypical street thugs Victims are left unable to do anything about assaults. Defenceless victims
- 7. Recognition of disequilibrium Regular teenager buys a costume in order to tackle the street crime and ‘little’ problems in the city Hero costume: mask included Gangs are seen as the main problems. Victim being beaten up by gang The main character ‘Kick- Ass’ attempts to take on gangs involved in drug crime. Weapons and costume: typical hero props
- 8. Attempt to repairdisequilibrium Younger character ‘Hit Girl’ is skilled in fighting and highly trained in using big weapons. Guns and jetpack The use of superhero disguises and high-tech weapons aid them in the battle between good and bad. Wig and mask to hide identity. Kick-Ass and Hit Girl team up to take on the much bigger gangs who ‘run’ the city.
- 9. New equilibrium New friendship formed after working together to put a stop to the crimes. Another shot of the school, this time everything has changed. Hit Girl –aka- Mindy, starts a new life as a normal girl and goes to school for the first time. Everyone ends up happy at the end.
- 10. Part B: Levi-Strauss Believedthe world is described in binary opposites: • Day/night • Light/dark • Good/bad • Male/female
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- 16. Part C: Barthes Barthestheory of codes encourages the audience to seek answers and clues to make them anticipate outcomes. Identified by these codes: • Enigma Code • Action Code • Semantic Code • Symbolic Code • Cultural Code
- 17. Enigma Code • Narrativesare set up as puzzles to be solved by the audience. • Portrays a mystery and raises questions to draw in the audience.
- 18. Enigma Code: ‘Detention’Trailer The trailer shows a mysterious knife wielding character. The same character reappears later in the trailer. The partially hidden face causing the audience to wonder who this killer is. We want to know where this axe came from and who it was thrown by.
- 19. Action Code These arecodes of behaviours and actions that lead the audience to expect certain consequences based on the conventions of other similar films or stories.
- 20. Action Code: TheJourney To The Centre Of The Earth Action: Taking shelter during a storm in a cave. Assumption: They will get trapped inside. Action: Accidently discover a new world. Assumption: Will go on an adventure, make new discoveries and find out more about themselves and each other.
- 21. Semantic Code • Barthessemantic code contains connotative meanings of objects, characters and locations. • We learn about the connotations and denotations through experience. • Iconographic features work in the same way.
- 22. Semantic Code: PiratesOf the Caribbean: On Stranger Tides Ocean: usually connotes a ‘world of possibilities’. Blue: connotes calm and cleanliness. Skeleton and flames connote death, risk and danger. Isolated island has the connotation of loneliness and absence of presence.
- 23. Semantic Code: PiratesOf the Caribbean: Iconographic pirate movie. On Stranger Tides Scruffy hair partially Conventional covered with cloth or Swashbuckler. bandanna is stereotypical in pirate films. ‘Bad Guy’ is usually disfigured or heavily tattooed/pierced in pirate movies. Sword wielding pirate – at the top of the pirate hierarchy.
- 24. Symbolic Code Often signifiesoppositions and antithesis. The evil lions are shown in a darker light by the dark shades of their fur The good lions are represented with a lighter shade of fur and are made to look less intimidating.
- 25. Cultural Code Outside oftext and knowledge we commonly share to bring understanding of the meaning in the text. In the 2011 modern adaption of Footloose, the main character owns an iPod, something that wasn’t in the original film. They also race old buses, as opposed to tractors, like in the original film.
- 26. Part D: Propp Studiedfolklore, fairy tales and legends in many countries. He formed a theory about 7 distinctive character types, also known as the ‘7 Spheres Of Action’: • Hero • Villain • Dispatcher • Donor • helper • False Hero • Heroine
- 27. Hero On a questor search: Frodo Baggins
- 28. Villain Opposes the hero: Sauron(the dark Lord)
- 29. Dispatcher Starts the heroon their journey to restore disequilibrium: Gandalf
- 30. Donor Helps the heroby giving him a ‘magic’ tool or gift to help on the journey:
- 31. Helper Helps the heroin restoring the equilibrium:
- 32. False Hero Is initiallyon the hero’s side before turning against him:
- 33. Heroine Threatened by thevillain, needs to be saved by the hero:
- 34. Part E: OtherTerms • Diegesis • Narrative Range - Unrestricted narration - Restricted narration - • Narrative Depth - Objective character identification - Subjective character identification
- 35. Diegesis The internal worldcreated by a story in which the characters live in, that they themselves experience and encounter. We only see a section of this world within the film. The diegetic elements make up the diegetic world.
- 36. Narrative Range • UnrestrictedNarration - Narrative that has no limit to the amount of information it gives out. - The information given to the audience is unrestricted - Eg. News bulletins - • Restricted Narration - The narrative only offers minimal information. - Hides some information from the audience, sometimes to create an enigma. - Eg. thrillers
- 37. Narrative Depth • ObjectiveCharacter Identification - The viewer is uniquely given access to a characters point of view. - Eg. Seeing things such as a character’s dreams, memories or thoughts. • Subjective Character Identification - The viewer is uniquely given access to what a range of characters can see or do. - Eg. Can see multiple things and characters.
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