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The document discusses several key concepts related to genre and narrative in media texts: - Genre refers to recognizable categories of media defined by common conventions like plot, characters, settings, and visual elements. Understanding genre gives audiences pleasures of anticipation and expectation. - Narrative is the organization of facts that gives coherence and meaning. Narratives use conventions like genre, character, time, and form to link events. Theories by Barthes and Todorov analyze how narratives progress from an initial state to a transformed resolution. - Dyer's utopian theory suggests audiences seek escapism through media genres that offer idealized worlds contrasting with limitations of reality. Media fulfill gratifications by presenting opportunities lacking in
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Question 1
My media product uses, develops, and challenges thriller conventions in the following ways:
1. It uses common cinematography techniques like tilt shots but also challenges conventions with unique extreme close-ups.
2. It develops conventions through the atypical introduction of the deranged antagonist and their unusual behavior.
3. It challenges conventions by not clearly identifying whether it follows Todorov's or Aristotle's narrative theories, leaving interpretation up to the audience.
Narrativeforq1b 120126102918-phpapp01[1]
1) The document discusses narrative structure in films, focusing on the concepts of plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events.
2) It then examines the ideas of Bordwell and Thompson, who distinguish between plot and story. Plot refers to the visible events in a film, while story encompasses all events, both explicit and inferred. The document also discusses how narratives can leave elements open to interpretation and inference.
3) In conclusion, the key points are that narrative analysis requires considering both the explicit plot and implicit story, including elements left for the audience to infer or presume.
Narrative theory_lovefield
The document discusses narrative theory and how it applies to analyzing media texts. It explains that narrative structure looks at how information is revealed to the audience over time, whether in a conventional linear way or unconventional structure. Techniques like camera shots, editing, sound, symbolic meanings of settings and costumes can provide clues about how the audience experiences the narrative. Theories discussed include Todorov's 5-part structure, Propp's character archetypes, and Levi-Strauss' concept of opposing forces driving conflict. Unconventional structures like elliptical, enigmatic, and time disordered are also covered. Barthes' view of texts as a "galaxy of signifiers" without a single entry point describes an active
GCSE Narrative theories 1
The document introduces the concept of narrative structure in storytelling. It explains that most conventional narratives follow a three-act structure of beginning, middle, and end. The beginning sets up the story and characters, the middle involves a conflict or problem, and the end resolves the conflict. It also discusses the key elements of plot, story, and narrative form. Overall, the document provides an overview of the traditional model of narrative story structure.
Narrative
Short films are typically used to showcase talent and secure funding for future projects. They are under 40 minutes long. Feature films are over 40 minutes and follow a narrative structure to convey emotions, raise awareness, and educate audiences. Narratives in film tell a story from beginning to end using characters and plot devices to resolve adversity. Plot establishes cause and effect relationships between events that drive the narrative.
Clear understanding of conventions and forms
This document discusses conventions and forms in short film openings, particularly for the horror genre. It provides definitions for key terms like film opening and conventions. It then outlines several common conventions for short film openings including using soundtracks, credits, editing techniques, lighting, characters, and posters. Specific conventions for horror films are explored such as using certain props, lighting to build tension, and introducing the antagonist. The document also discusses how these conventions can be used, developed, and challenged in films.
Narrative theories:
This document discusses different narrative theories, including:
- The difference between a story (plot substance) and narrative (how the plot is connected).
- How genres can limit meaning and unexpected developments in a narrative.
- Common narrative conventions like genre, character, form, and time.
- Propp's Character Theory which identifies common character roles like hero, villain, helper. However, this theory may not always apply.
- Tzodorov's narrative theory of a typical five step pattern of equilibrium, disruption, realization, order restoration, and new equilibrium. The document discusses how this pattern partially fits the narrator's trailer.
Narrative
This document provides an overview of several concepts and theories in narrative theory:
- Narratives involve a sequence of events (plot) presented in a particular way (narrative) to an audience. Analysis focuses on how the story is constructed rather than just the story itself.
- Narratives use various codes - technical, verbal, symbolic - to convey meaning and information to the audience. Tzvetan Todorov's theory examines how narratives progress from an initial equilibrium, through disruption and resolution, to a new equilibrium.
- Roland Barthes explored symbols, indexes, and icons in communication. Signifiers represent concepts (signifieds) in both denotative and connotative ways.
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Question 1
My media product uses, develops, and challenges thriller conventions in the following ways:
1. It uses common cinematography techniques like tilt shots but also challenges conventions with unique extreme close-ups.
2. It develops conventions through the atypical introduction of the deranged antagonist and their unusual behavior.
3. It challenges conventions by not clearly identifying whether it follows Todorov's or Aristotle's narrative theories, leaving interpretation up to the audience.
Narrativeforq1b 120126102918-phpapp01[1]
1) The document discusses narrative structure in films, focusing on the concepts of plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events.
2) It then examines the ideas of Bordwell and Thompson, who distinguish between plot and story. Plot refers to the visible events in a film, while story encompasses all events, both explicit and inferred. The document also discusses how narratives can leave elements open to interpretation and inference.
3) In conclusion, the key points are that narrative analysis requires considering both the explicit plot and implicit story, including elements left for the audience to infer or presume.
Narrative theory_lovefield
The document discusses narrative theory and how it applies to analyzing media texts. It explains that narrative structure looks at how information is revealed to the audience over time, whether in a conventional linear way or unconventional structure. Techniques like camera shots, editing, sound, symbolic meanings of settings and costumes can provide clues about how the audience experiences the narrative. Theories discussed include Todorov's 5-part structure, Propp's character archetypes, and Levi-Strauss' concept of opposing forces driving conflict. Unconventional structures like elliptical, enigmatic, and time disordered are also covered. Barthes' view of texts as a "galaxy of signifiers" without a single entry point describes an active
GCSE Narrative theories 1
The document introduces the concept of narrative structure in storytelling. It explains that most conventional narratives follow a three-act structure of beginning, middle, and end. The beginning sets up the story and characters, the middle involves a conflict or problem, and the end resolves the conflict. It also discusses the key elements of plot, story, and narrative form. Overall, the document provides an overview of the traditional model of narrative story structure.
Narrative
Short films are typically used to showcase talent and secure funding for future projects. They are under 40 minutes long. Feature films are over 40 minutes and follow a narrative structure to convey emotions, raise awareness, and educate audiences. Narratives in film tell a story from beginning to end using characters and plot devices to resolve adversity. Plot establishes cause and effect relationships between events that drive the narrative.
Clear understanding of conventions and forms
This document discusses conventions and forms in short film openings, particularly for the horror genre. It provides definitions for key terms like film opening and conventions. It then outlines several common conventions for short film openings including using soundtracks, credits, editing techniques, lighting, characters, and posters. Specific conventions for horror films are explored such as using certain props, lighting to build tension, and introducing the antagonist. The document also discusses how these conventions can be used, developed, and challenged in films.
Narrative theories:
This document discusses different narrative theories, including:
- The difference between a story (plot substance) and narrative (how the plot is connected).
- How genres can limit meaning and unexpected developments in a narrative.
- Common narrative conventions like genre, character, form, and time.
- Propp's Character Theory which identifies common character roles like hero, villain, helper. However, this theory may not always apply.
- Tzodorov's narrative theory of a typical five step pattern of equilibrium, disruption, realization, order restoration, and new equilibrium. The document discusses how this pattern partially fits the narrator's trailer.
Narrative
This document provides an overview of several concepts and theories in narrative theory:
- Narratives involve a sequence of events (plot) presented in a particular way (narrative) to an audience. Analysis focuses on how the story is constructed rather than just the story itself.
- Narratives use various codes - technical, verbal, symbolic - to convey meaning and information to the audience. Tzvetan Todorov's theory examines how narratives progress from an initial equilibrium, through disruption and resolution, to a new equilibrium.
- Roland Barthes explored symbols, indexes, and icons in communication. Signifiers represent concepts (signifieds) in both denotative and connotative ways.
Evaluation #1
This document discusses how the media product challenges conventions of real horror movies in its use of plot, characters, camerawork, editing, sound, and typography. It establishes the protagonist and antagonist using symbolic appearances and a challenge of the binary opposition of good vs evil. Camera shots like close-ups are used to convey character emotions. Different sounds track plot points and character feelings. The media product aims to surprise audiences and make them feel uneasy, using conventions like an unclear antagonist face and pointed weapons to connote violence.
Narrative
This document provides an overview of narrative theory and techniques. It defines narrative and identifies three common narrative theories: Todorov's theory of narrative structure, Propp's characterization roles, and Levi-Strauss's concept of binary oppositions. Examples are given for each theory and students are tasked with applying these concepts to analyze various media texts, including films, news, and advertisements. Non-linear narratives are also discussed.
Evaluation Question One Draft
The document discusses how the media product "Deception" used and challenged conventions of real thriller films. It analyzes the trailer's filming, editing, sound, and codes in comparison to films like Gone Girl and Jaws. The trailer uses low key lighting, shadows, and extreme close ups to create atmosphere, while challenging conventions through a lack of movement shots and an unclear narrative structure. It also employs hermeneutic, proairetic, and gnomic codes to generate mystery and intrigue for the audience. Both diegetic and non-diegetic sounds are utilized to build tension. In conclusion, the document argues the trailer successfully adopts and innovates thriller conventions to appeal to target viewers.
Planning
The document discusses the student's plans for creating a thriller film trailer. It includes drafting a storyboard with scenes and shots. Locations are considered, such as using a dark garage. Costumes and props like a wooden chair and fake blood are discussed. Communicating with the actress by phone, social media, and adjusting plans is mentioned. Research on thriller genre conventions and film theories to apply to the trailer is also summarized.
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The document discusses narrative structure in film, distinguishing between plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events. Bordwell and Thompson's definitions of explicit vs inferred events are provided. The key to narrative analysis is considering the wider story, not just the plot, as audiences infer subtle details. Narrative structure techniques like restricted/unrestricted narratives, open/closed narratives, and enigma codes that engage audiences are also discussed.
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The document discusses several traditional narrative theories and structures, including those proposed by Tzvetan Todorov, Claude Levi-Strauss, and Vladimir Propp. It also addresses challenges to linear narratives, such as open-ended or non-linear narratives, and discusses how some television shows use multi-strand narratives.
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Q1 final
The document discusses how the media product "Deception" uses and challenges conventions of real thriller films. It analyzes elements like filming, editing, sound, and codes. Low key lighting, extreme close-ups, shadows and movement were used to create atmosphere, while sequencing challenged expected narrative patterns. Both diegetic and non-diegetic sounds built tension. The title, poster and foreshadowing employed hermeneutic, proairetic and gnomic codes to intrigue audiences, developing conventions in a way that questions expectations. In conclusion, the trailer successfully employed and challenged existing thriller conventions to craft a unique viewing experience.
Planning
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The document discusses various concepts related to analyzing the form and structure of films and how they create meaning, including:
1) It examines different types of conflicts that can be presented in films such as man vs man, man vs society, etc. and how they focus audience attention.
2) It outlines several themes commonly explored in films such as morality, human nature, social problems, human dignity, and complexity of relationships.
3) It describes different types of meaning that can be conveyed in films such as emotional, referential, explicit, and implicit meanings.
Media theory
This document provides an overview of key media terminology and concepts used in media studies. It defines what media texts are and outlines LIAR as an acronym for analyzing language, institutions, audiences, and representation. It also discusses media institutions, audiences, representation, genres, narratives, character codes, and technical and symbolic codes. Genres can be main categories or subgenres, and narratives can be linear or non-linear. Character roles in stories often include the hero, villain, princess, helper, donor, dispatcher, and false hero.
Investigating narrative
This document discusses different aspects and definitions of narrative structure in film. It begins by defining narrative as "a chain of events in a cause-effect relationship occurring in time." It then examines various components of narrative including plot, story, time manipulation techniques like montage, points of view, and narrative devices. The document also analyzes common narrative structures like the three-act structure described by Syd Field involving a set up, confrontation, and resolution. It further discusses Tzvetan Todrov's five stages of narrative and different types of modular narratives identified by Allan Cameron.
Investigating narrative
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GCSE Narrative theories 3
Vladimir Propp identified common character archetypes that appear in many stories, including heroes, villains, dispatchers, donors, helpers, and princesses. These archetypes serve specific functions in driving the narrative forward and making the story understandable. Many modern films still use these archetypes, and we can identify them in the characters of Shrek and other movies. Understanding archetypes helps us engage with the story by identifying with the hero on their quest.
Investigating narrative
Narrative is a chain of causally linked events that occurs over time, and it is found in many forms of entertainment like literature, film, and music. In film specifically, narrative relies on techniques like editing, cinematography, and sound to manipulate time and convey meaning. It is structured around key concepts like plot, character, and point of view. Common narrative structures in film include the three-act structure and Tzvetan Todorov's five stages of equilibrium, disequilibrium, new equilibrium. Modern films also employ modular narratives that manipulate time in nonlinear ways through techniques like flashbacks, parallel timelines, and split screens. Narrative is crucial for films because it allows audiences to understand and engage with story
Evaluation Question One
The document discusses how the media product "Deception" used and challenged conventions of real thriller films. It evaluated the trailer's filming, editing, sound, and codes. While it used conventions like low-key lighting and diegetic sounds to create tension, it also challenged expectations by lacking character/camera movement and not following a clear narrative structure. The document analyzes how the trailer balanced familiar thriller techniques with ambiguous elements to intrigue audiences.
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Film narrative part 1
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AS Media Evaluation - Question 1
The document analyzes how the opening sequence of a psychological horror film uses conventions of the genre. It begins with an establishing shot to set the location and introduces the protagonist with a long shot. Throughout, it uses lighting, camera angles, editing and sounds typical of psychological horror to build tension and mystery around the unknown antagonist. It aims to engage the audience by challenging expectations and keeping the antagonist's identity a secret for as long as possible.
ASY1 media narrative
The document discusses key concepts in narrative theory, including definitions of narrative, narrative structure according to Todorov's model of equilibrium-disequilibrium-new equilibrium, linear and non-linear narratives, narrative codes according to Barthes, Propp's character types, and how narratives can conform to or challenge audience expectations. It also addresses analyzing narratives in both fiction and non-fiction media like news reports, magazines, and songs.
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Evaluation #1
This document discusses how the media product challenges conventions of real horror movies in its use of plot, characters, camerawork, editing, sound, and typography. It establishes the protagonist and antagonist using symbolic appearances and a challenge of the binary opposition of good vs evil. Camera shots like close-ups are used to convey character emotions. Different sounds track plot points and character feelings. The media product aims to surprise audiences and make them feel uneasy, using conventions like an unclear antagonist face and pointed weapons to connote violence.
Narrative
This document provides an overview of narrative theory and techniques. It defines narrative and identifies three common narrative theories: Todorov's theory of narrative structure, Propp's characterization roles, and Levi-Strauss's concept of binary oppositions. Examples are given for each theory and students are tasked with applying these concepts to analyze various media texts, including films, news, and advertisements. Non-linear narratives are also discussed.
Evaluation Question One Draft
The document discusses how the media product "Deception" used and challenged conventions of real thriller films. It analyzes the trailer's filming, editing, sound, and codes in comparison to films like Gone Girl and Jaws. The trailer uses low key lighting, shadows, and extreme close ups to create atmosphere, while challenging conventions through a lack of movement shots and an unclear narrative structure. It also employs hermeneutic, proairetic, and gnomic codes to generate mystery and intrigue for the audience. Both diegetic and non-diegetic sounds are utilized to build tension. In conclusion, the document argues the trailer successfully adopts and innovates thriller conventions to appeal to target viewers.
Planning
The document discusses the student's plans for creating a thriller film trailer. It includes drafting a storyboard with scenes and shots. Locations are considered, such as using a dark garage. Costumes and props like a wooden chair and fake blood are discussed. Communicating with the actress by phone, social media, and adjusting plans is mentioned. Research on thriller genre conventions and film theories to apply to the trailer is also summarized.
Narrative for Q1(b)
The document discusses narrative structure in film, distinguishing between plot and story. It defines plot as the explicit events presented in a film, while the story includes both explicit and inferred events. Bordwell and Thompson's definitions of explicit vs inferred events are provided. The key to narrative analysis is considering the wider story, not just the plot, as audiences infer subtle details. Narrative structure techniques like restricted/unrestricted narratives, open/closed narratives, and enigma codes that engage audiences are also discussed.
Narrativestrcutureandtheory
The document discusses several traditional narrative theories and structures, including those proposed by Tzvetan Todorov, Claude Levi-Strauss, and Vladimir Propp. It also addresses challenges to linear narratives, such as open-ended or non-linear narratives, and discusses how some television shows use multi-strand narratives.
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Q1 final
The document discusses how the media product "Deception" uses and challenges conventions of real thriller films. It analyzes elements like filming, editing, sound, and codes. Low key lighting, extreme close-ups, shadows and movement were used to create atmosphere, while sequencing challenged expected narrative patterns. Both diegetic and non-diegetic sounds built tension. The title, poster and foreshadowing employed hermeneutic, proairetic and gnomic codes to intrigue audiences, developing conventions in a way that questions expectations. In conclusion, the trailer successfully employed and challenged existing thriller conventions to craft a unique viewing experience.
Planning
The document outlines the student's plans for organizing their schedule and timetable for upcoming coursework deadlines over the next few months. This includes filling in a calendar with all deadlines to help plan time and avoid getting overloaded or passing deadlines. Organizing the schedule in this way will help the student manage their time well.
Film Studies Unit 1 Structure/Story/Form
The document discusses various concepts related to analyzing the form and structure of films and how they create meaning, including:
1) It examines different types of conflicts that can be presented in films such as man vs man, man vs society, etc. and how they focus audience attention.
2) It outlines several themes commonly explored in films such as morality, human nature, social problems, human dignity, and complexity of relationships.
3) It describes different types of meaning that can be conveyed in films such as emotional, referential, explicit, and implicit meanings.
Media theory
This document provides an overview of key media terminology and concepts used in media studies. It defines what media texts are and outlines LIAR as an acronym for analyzing language, institutions, audiences, and representation. It also discusses media institutions, audiences, representation, genres, narratives, character codes, and technical and symbolic codes. Genres can be main categories or subgenres, and narratives can be linear or non-linear. Character roles in stories often include the hero, villain, princess, helper, donor, dispatcher, and false hero.
Investigating narrative
This document discusses different aspects and definitions of narrative structure in film. It begins by defining narrative as "a chain of events in a cause-effect relationship occurring in time." It then examines various components of narrative including plot, story, time manipulation techniques like montage, points of view, and narrative devices. The document also analyzes common narrative structures like the three-act structure described by Syd Field involving a set up, confrontation, and resolution. It further discusses Tzvetan Todrov's five stages of narrative and different types of modular narratives identified by Allan Cameron.
Investigating narrative
This document discusses different aspects of narrative structure in film. It begins by defining narrative as "a chain of events in a cause-effect relationship occurring in time." The document then examines various elements that comprise narrative, including story, plot, time manipulation through montage, point of view, and narration. It explores theories of narrative structure from Syd Field, who proposed the three-act system of setup, confrontation, and resolution, and Tzvetan Todrov, who described a five-stage model of equilibrium, disequilibrium, recognition, attempt to repair, and reinstatement of equilibrium. Finally, it categorizes different types of modular narrative as anachronic, forking paths, episodic, and split
GCSE Narrative theories 3
Vladimir Propp identified common character archetypes that appear in many stories, including heroes, villains, dispatchers, donors, helpers, and princesses. These archetypes serve specific functions in driving the narrative forward and making the story understandable. Many modern films still use these archetypes, and we can identify them in the characters of Shrek and other movies. Understanding archetypes helps us engage with the story by identifying with the hero on their quest.
Investigating narrative
Narrative is a chain of causally linked events that occurs over time, and it is found in many forms of entertainment like literature, film, and music. In film specifically, narrative relies on techniques like editing, cinematography, and sound to manipulate time and convey meaning. It is structured around key concepts like plot, character, and point of view. Common narrative structures in film include the three-act structure and Tzvetan Todorov's five stages of equilibrium, disequilibrium, new equilibrium. Modern films also employ modular narratives that manipulate time in nonlinear ways through techniques like flashbacks, parallel timelines, and split screens. Narrative is crucial for films because it allows audiences to understand and engage with story
Evaluation Question One
The document discusses how the media product "Deception" used and challenged conventions of real thriller films. It evaluated the trailer's filming, editing, sound, and codes. While it used conventions like low-key lighting and diegetic sounds to create tension, it also challenged expectations by lacking character/camera movement and not following a clear narrative structure. The document analyzes how the trailer balanced familiar thriller techniques with ambiguous elements to intrigue audiences.
A2 media studies MIGRAIN coursework - Dana
This document discusses several concepts related to media analysis including Stuart Hall's reception theory, Rick Altman's genre theory, Ferdinand de Saussure's semiotics, and technical codes used in filmmaking. Reception theory explains how audiences can interpret media texts in dominant, negotiated, or oppositional ways. Genre theory identifies semantic and syntactic elements that help audiences recognize genres. Semiotics discusses how signs and symbols convey meaning. Technical codes discussed include camera shots like close-ups, long shots, and over-the-shoulder shots that create meaning.
Film narrative part 1
This document provides an introduction to narrative structure in film. It defines key terms like narrative, story, plot, events and actions. It discusses common Hollywood film structure which typically involves a 3 act structure of set up, conflict and resolution. It also covers concepts like linear and non-linear narratives, genres and their codes/conventions. The document is intended to teach students foundational concepts around narrative so they can analyze the narrative structure of films.
AS Media Evaluation - Question 1
The document analyzes how the opening sequence of a psychological horror film uses conventions of the genre. It begins with an establishing shot to set the location and introduces the protagonist with a long shot. Throughout, it uses lighting, camera angles, editing and sounds typical of psychological horror to build tension and mystery around the unknown antagonist. It aims to engage the audience by challenging expectations and keeping the antagonist's identity a secret for as long as possible.
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Narrative Image: The How and Why of Visual Storytelling
Narrative Image: The How and Why of Visual Storytelling
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ASY1 media narrative
The document discusses key concepts in narrative theory, including definitions of narrative, narrative structure according to Todorov's model of equilibrium-disequilibrium-new equilibrium, linear and non-linear narratives, narrative codes according to Barthes, Propp's character types, and how narratives can conform to or challenge audience expectations. It also addresses analyzing narratives in both fiction and non-fiction media like news reports, magazines, and songs.
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The document provides an introduction to narrative structure in long form TV dramas. It discusses different types of narrative structures such as linear vs fragmented, restricted vs omnipresent point of view, and closed vs open endings. It also summarizes Todorov's equilibrium theory of narratives and Strauss' concept of binary oppositions that drive narratives. The document poses questions about applying these concepts to analyze the narrative structure of the first episode of a chosen drama.
AS/Y1 Media Studies: Narrative
This document provides an overview of narrative theory and definitions related to narratives. It begins by asking the reader to define what a narrative is and provides some examples of where narratives can be found. It then defines key narrative concepts such as story versus narrative, linear versus non-linear narratives, and narrative structures. Specific narrative theorists discussed include Todorov and his concept of narrative equilibrium, Barthes' narrative codes, and Propp's characterization theory. The document aims to introduce foundational concepts in narrative theory.
Critical theories
The document discusses several critical theories related to media audiences:
- Reception Theory examines how audiences decode media texts, which may produce different readings than what the producer intended.
- Active Audience Theory sees audiences as individuals who engage with media based on their own experiences rather than passively consuming messages.
- Uses and Gratifications Theory explores how audiences use media to fulfill social and psychological needs like surveillance, relationships, identity, and diversion.
- Narrative Functions looks at common character archetypes like heroes, villains, and helpers in stories based on Vladimir Propp's analysis of folk tales.
- The Equilibrium refers to a narrative starting in a state of balance that is disrupted, creating tension to be resolved by
Evaluation
The document discusses how the media group's thriller project uses and challenges conventions of the thriller genre. It summarizes their research into typical thriller conventions like mysterious antagonists, tense music, and quick editing. It also discusses how their project incorporates conventions like these while challenging others, such as using an elderly rather than young antagonist and focusing on one location rather than multiple.
poetry and advertisement
This document contains a student's responses to exam questions about storytelling, advertising, and poetry. The student provides detailed answers analyzing examples like a Parker pen advertisement, the movie The Godfather, a Dove beauty campaign, and Walt Whitman's poem "Song of Myself." The student explains concepts such as Schank's script theory, cognitive theories of images and the mind, Roland Barthes' mythology, and how storyboards and fairy tales can be applied to advertising.
Narrative
Narrative refers to storytelling and how elements are organized to create meaning. Narratives across media share characteristics like structure and how they are informed by characters, action, and location. Narrative structures can be closed with a conclusion or open-ended. Theorists like Todorov, Propp, Barthes, and Levi-Strauss analyzed narratives and identified common patterns. Todorov saw narratives as progressing through equilibrium, disruption, and new equilibrium states. Propp identified character types like villains and heroes. Levi-Strauss explored binary oppositions. Barthes identified codes like hermeneutic and symbolic that shape narratives.
Introduction to Narrative
Narrative is the way that stories are structured and told across different media. It involves organizing elements like characters, facts, actions, and locations into a meaningful story. Narrative allows humans to make sense of the world and put events in a logical order. Stories are commonly structured in a linear fashion, with one event following another. However, some narratives can also involve multiple interweaving storylines or leave the ending open-ended for the audience to interpret. Theories of narrative focus on how equilibrium is disrupted and then restored, as well as on common character archetypes found across different stories.
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The document provides an overview of key concepts related to narrative structure and analysis in media. It discusses three common narrative structures (circular, episodic, and linear), perspectives (restricted vs omniscient), relationships between song and narrative content, and conventions. It also summarizes several theories of narrative including those proposed by Todorov, Goffman, Rowe, Lévi-Strauss, Propp, and Goodwin. Finally, it addresses concepts such as genre, representation, media language, and theorists related to these topics.
Evaluation question 1
In 3 sentences or less, the document discusses how the media product uses and challenges conventions of the thriller genre through various elements:
The opening titles sequence follows thriller conventions through its font and dark background but challenges conventions by having no music. Lighting and locations are used to characterize the antagonist and victim but in unconventional washed-out colors. Camera angles, editing, and special effects are employed to create mystery, suspense, and demonstrate an unstable mindset while challenging expectations.
Narrative v2
This document discusses various theories of narrative structure in film. It describes how narrative serves purposes such as delivering the story and establishing perspective. It also discusses different types of narratives like restricted vs unrestricted and how editing techniques like continuity editing draw the audience into the film's world. Finally, it summarizes several influential narrative theorists like Todorov, Propp, Barthes, and Campbell and concepts they developed like the hero's journey.
Theoretical research
This document discusses several narrative theories that will influence the production's final piece. It summarizes Todorov's narrative theory which establishes an equilibrium that is disrupted by an obstacle for characters to overcome. It also discusses Propp's character types that commonly appear in narratives, such as the hero and villain. The document states that understanding narrative theory will help structure the production's thriller genre storytelling.
Narrative in film:
Within this presentation I take the time to explain narrative by definition; discussing theorists, relating them to my narrative idea and elaborating on the theories.
Narrative theory in teaser trailers
This document discusses several narrative theories and how they apply to teaser trailers. It explains Tzvetan Todorov's theory of narrative structure, which involves an initial equilibrium that is disrupted by an event causing disequilibrium, which is then resolved with a new equilibrium. It notes how teaser trailers show the initial equilibrium and disequilibrium stages. It also summarizes Roland Barthes' narrative codes, including the hermeneutic code involving mysteries and the proairetic code involving actions. Finally, it discusses Claude Levi-Strauss' theory of binary oppositions reflecting cultural values and how this can be seen in teaser trailers.
2.3) Manipulation of Traditional Narrative Structure Pt. 2.pptx
Narratives follow a basic structural pattern of establishing an initial equilibrium, disrupting it with an event, and resolving it at the end. This pattern provides reassurance but can also falsely suggest life has inevitable resolutions and limits audience response. Some narratives challenge this by offering multiple pathways and outcomes, inviting interaction. Black Mirror's Bandersnatch episode exemplifies this by allowing viewers to choose the story's path. Narrative meaning is determined by the questions films pose and answer, keeping audiences engaged through a series of predictions, clues, and satisfactions.
Narrative
This document discusses different narrative types in film and their effects on audiences. It explains that narrative is complex and part of everyday life, encountered through stories from friends and in most texts. The document then covers 5 types of narrative: 1) openings that set the scene, 2) structures like binary oppositions between characters and actions, 3) chronology including typical story development, 4) positioning of the audience, and 5) narrative voice and agents like first-person perspectives. Readers are prompted throughout to consider narrative examples and analyze scenes using film terminology.
Lesson 1 Question 1B Intro & Narrative
The document provides an introduction to answering exam questions about media concepts. It discusses the concepts of genre, narrative, representation, audience and media language that exam questions may be based on. It also provides examples of past exam questions, tips on how to structure a response, and focuses on explaining the concept of narrative. Key aspects of narrative discussed include its structure, the role of characters and time. Theories of narrative from theorists like Propp, Todorov and Levi-Strauss are also summarized.
Investigating narrative
This document discusses different aspects of narrative structure in film. It begins by defining narrative as "a chain of events in a cause-effect relationship occurring in time." The document then examines various elements that comprise narrative, including story, plot, time manipulation through montage, point of view, and narrative conventions. It explores theories from Syd Field about the three-act structure in screenplays, and from Tzvetan Todrov about a five-stage model of narrative disruption and restoration of equilibrium. Finally, it analyzes different types of modular narrative as identified by Allan Cameron, such as anachronic, forking paths, episodic, and split-screen narratives.
Applying Narrative Theories
The document discusses various narrative theories and concepts that can be used to analyze film narratives, including:
- Linear vs. non-linear narratives and examples of each
- Tzvetan Todorov's 5 stages of narrative structure: equilibrium, disruption, realization, action, new equilibrium
- Vladimir Propp's character archetypes in folktales
- Claude Levi-Strauss's concept of binary oppositions
- Roland Barthes' ideas of the "enigma code" and negotiated meanings
- Narrative point of view and how films manipulate audience sympathy
Media narrative codes update 2015
There are several important narrative theories and theorists that are useful to understand different types of narratives and how meaning is conveyed. Vladimir Propp and Tzvetan Todorov looked at common structural elements of narratives including equilibrium, disruption, quest, climax and resolution. Roland Barthes identified action and enigma codes that drive narratives. Allan Cameron defined modular narratives that manipulate time like anachrony, forking paths and episodic structures. Understanding these theories can help analyze and create strong narratives.
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2.3) Manipulation of Traditional Narrative Structure Pt. 2.pptx
2.3) Manipulation of Traditional Narrative Structure Pt. 2.pptx
Media powerpoint
- 1. Section A of the exam, Question 1B Lucy Lovell 13SRB