1) The document discusses various theories of narrative structure and how they apply to the creator's media product. 2) Key concepts discussed include having a chronological series of events, beginning with an establishment of plot/theme and developing a problem before a new equilibrium, and using imagery and structure to create meaning and feelings of completeness. 3) While the product does not exactly follow conventional narrative theories, it uses techniques like cyclic structure and themes to engage audiences and convey interpretational messages according to their own experiences.

1. NARRATIVE
( T H E O R Y, C O N V E N T I O N A L F O R M A N D
A P P L I C AT I O N O F T H I S TO M Y P R O D U C T )

2. CONVENTIONAL STRUCTURE
• Narrative videos most importantly resolve around an
unfolding story-line, illustrating a series of events, often, but
not always, relative to the lyrics.
• A key concept of narrative theory is the idea that story and
plot combine to form structure, as suggested by Bordwell &
Tompson’s theory. This same theory also proposes the
assumption that all narrative is constructed around three
separate aspects, these being- inferred events, explicitly
shown events and non-diegetic material.
• Despite the fact my media outcome doesn’t have clear
narrative structure relative to this theory, my product does in
fact create a chronological series of events, enabling the
audience to engage with the activity featured, while creating
meaning through inferable imagery. This chronology can be
referred to as the term ‘Fabula’ supported by Bordwell &
Tompson.

3. TODOROV’S THEORY
• Todorov’s theory samples this idea, extending it through
deeper understanding of imagery usage. In this sense, my
both obliges and defies this idea since the same shot is used in
the end as the beginning opening shot, just in reverse speed.
This creates the illusion of a sun rise and sun set, directly
displaying the time restraint the video occurred within, while
reflecting upon the feelings from that position in the narratives
story-line the video began. From this, it can be said that the
video follows a cyclic structure, creating feelings of
completeness and the impression of an inevitable fate, making
the narrative seem fatalistic based around the generic societies
of youth populations.

4. TIM O’SULLIVAN
• My product indirectly follows through with Tim O’Sullivan’s
outlook on narrative too, where he suggests that all narrative
products have a common structure, existing in three stages:
beginning with an establishment of plot or theme, followed by
development of the problem, before finally reaching a new
equilibrium.
• This theory can be applied to my outcome through inferable
aspects; the plot is not made particularly apparent however
can be interpreted based upon the audiences own personal
experiences and views. The video is clearly directed towards a
youth orientated audience, where the lyrics signify the inability
to be content with daily life due to inadequate themes of love
and lust, equating for a major aspect of today’s society.

5. THEME
• Established in an obvious sense, a key theme in the product
is driving, this symbolising deeper meaning metaphorically
representing change, and forever moving forward; moving
on from bad experiences. This is then contrasted with the
visuals, presenting ideas of personal strength and escapism,
reminding the viewer of what youth means; overseeing the
effects of individual, small obstacles. My video is built
primarily upon a theme rather than a plot, yet still creates
meaning in the same way, achieved through collaboration of
technical and symbolic aspects in a common structure to
display interpretational messages.

6. DIEGESIS
• The diegesis implemented within my constructed media text
forms a constant, glorified scene fixed within the fictional space
and time subjected through narrative use. This is achieved
through use of verisimilitude, a process used to ensure the
product forms realistic ideas, enabling for engagement from the
audience. This is a conventional requirement seen amongst all
existing successful products, replicated within my own video.
The establishment of an idolised atmosphere built through
realistic values and audience expectations is a frequently seen
dynamic particularly effective in pop music, giving the audience
something to look up too.

7. BINARY OPPOSITION –
CLAUDE LEVI STRAUSS
• With regards to Claude Levi Strauss’ theory, my product defies
this theory through opposition of a simple structure; Claude Levi
Strauss suggests that all stories operate to clear binary
oppositions, reducing a world from a complicated form to a
very basic condensed reality. My product however, presents the
presence of multiple truths based upon individual
interpretation, resulting in stronger engagement and interest.
• Claude Levi Strauss refers to objectiveness, while my product is
very strongly subjective.