The document discusses various narrative theories in film, including the five-act structure by Todorov, Propp's eight character roles, Levi-Strauss's binary oppositions, Barthes's five narrative codes, and Campbell's concept of the monomyth. It explains how these theories influence storytelling by establishing character dynamics, narrative structure, and thematic depth. The author reflects on how these theories are applied in their own narrative about a girl coping with the loss of her mother.

1. ‘Theorists Galore!’
NARRATIVE IN FILM

2. NARRATIVE:
• Meaning : The structure or sequence in which events/ facts exist causing them to have to have connotations and
interpretations depending on the order in the narrative, In short a Narrative just means ‘Story’
• We will cover here:
-Todorov
-Propp
-Levi-Strauss
-Lyotard
-Roland Barthes
-Joseph Campbell

3. TZVETAN TODOROV: (1939-) FIVE ACT STRUCTURE
• Narrative is the word given to the sequence/structure
of facts or events. The collection of those events in
the narrative’s structure allows for us to interpret
what we may from the order set in and create
connections. We are often expectant of a beginning,
middle and end. Todorov theorised that narratives
have a five part structured system in place.
• First we have the ‘Equilibrium’ or the normality in the
diegesis (the state in which all is considered
average).
• Secondly we have the ‘Disequilibrium’ or the
disruption of the preconceived normal
environment/behaviour/social system.
• Thirdly we have the ‘Recognition’ of the
change/disruption.
• Fourthly is the ‘Attempt’ at fixing the change to
equalise the environment/construct
• And finally is the ‘New Equilibrium’ in which the
characters either realise the change is for the better
and are at peace with the disruption or the narrative
goes back to the original state.
Example: In Captain America Civil War we
have the avengers fighting the terrorist
organisation Hydra as they always do,
suddenly we have a destruction of a city
and this in turn causes the avengers to
feud over a document. They realise by the
end that Zemo has caused this change,
attempt to fix the feud (by more fighting)n
and then in the end it is resolved by each
team going their separate way.

4. VLADIMIR PROPP: (1895-1970) 8 CHARACTER ROLES
 This theorist was very much inspired and interested in
fairy-tales and mythology and thus his theories centralised
around mythological narratives. Vladimir Propp proposed
that there was a set amount of character types in any
given fairy-tale narrative (8 character types).
 The Villain: Whom struggles against the hero.
 The Magic Helper: Whom helps the hero in their quest.
 The Prize/Princess: Is what or who the hero is on the
quest for.
 The Father: Rewards the Hero.
 The False Hero: Appears to be helping the hero but is
unmasked as a fraud.
 The Dispatcher: Sends the hero on a quest.
 The Hero: Is on a quest.
 The Donor: Gives the hero something to help them on their
quest.
Example: In the Film ‘The
Princess Bride’ we have all of
these characters
The interest Propp expressed in the mythological heavily influenced his theorem of
the 8 character role, His works continued on and this Russian theorist wrote many
books including
His main books are:
Morphology of the tale, Leningrad 1928
Historical Roots of the wonder tale , Leningrad 1946
Russian Epic Song , Leningrad 1955 - 1958
Popular Lyric Songs , Leningrad 1961
Russian Agrarian Feasts, Leningrad 1963
He also published some articles, the most important are:
The Magical Tree on the tomb
Wonderful Childbirth
Ritual Laughter in folklore
Oedipus in the light of folklore
First printed in specialized reviews, they were republished in Folklore and Reality,
Leningrad 1976
Two books were published post mortem:
Problems of comedy and laughter , Leningrad 1983
The Russian Folktale , Leningrad 1984

5. LEVI-STRAUSS: (1908-2009) BINARY OPPOSITIONS
 Strauss was a French anthropologist
who theorised that our basic
understandings of language and words
was not justly based upon our
understanding of the concept of the
word by itself but by the understanding
of the difference between its opposite.
 Binary opposition in media product
means that for one to exist we must
have an existing counterpart that
opposes or differs from the other. In
films we see this as good vs evil or
right vs wrong.
 The solidifying factor that determines
whether something is what we
understand it to be relies on the
subject to have an opposite that is
definitively not the primary subject.
 Like antonyms if you may.
Example: An excellent example of this is in the Harry Potter
series where both Harry and Voldemort are counter
positions or binary oppositions, Harry would not need to be
the good guy and save the day if Voldemort wasn’t evil.
Both parallel each other as Harry is representative of
youth/life and improvement whereas Voldemort is
representative of death and destruction.
https://www.scribd.com/doc/24211088/Binary-Opposition-in-Fairy-Tales-
Insight-into-the-Working-of-Ideology
Here is a link to a rather interesting post on Binary
opposition which helped to further my
understanding of Levi Strauss’ theory on ‘Binary
Opposition’. Interestingly this also helps to link
Levi Strauss with Vladimir Propp through fairy
tales and mythology with narrative.

6. ROLAND BARTHES: (1915-1980) CULTURAL; SEMANTIC, SYMBOLIC,
HERMENEUTIC AND PROAIRETIC
• Roland Barthes was a theorist who believed that every narrative consisted of 5 codes throughout.
• The Hermeneutic code: This is the code which states that there is an event or subject that is never
fully explained and thus becomes the centre of mystery. This could be shown through a various
amount of ways with things like:
-Snares: deliberately avoiding the truth.
-Equivocations: partial or incomplete answers.
-Jammings: openly acknowledge that there is no answer to a problem.
• The Proairetic code: This code is stative that tension is always built in film and thus it causes the
reader to keep on guessing. This is otherwise known as the suspense code. The Proairetic and the
Hermeneutic act together to keep an audience member engaged.
• The Semantic code: this code refers to connotations within the narrative that offer additional layers
or meaning, minute details if you may that build upon the otherwise denotive word/object/event.
• The Symbolic code: This is very similar to the Semantic Code, but acts at a wider level, organizing
semantic meanings into more in-depth sets of meaning. This is typically done in the use of
antithesis, where new meaning arises out of opposing and conflict ideas linking very much so to
Levi-Strauss’ theory of binary opposition.
• The Cultural Code: This code is founded upon the basis of a preconceived understanding from the
viewer of an undisputable truth. This would often use science, religion or other canons to
justify/support the narrative.
Example: In any
of the Mission
Impossible films
this is incredibly
evident

7. JOSEPH CAMPBELL: (1904-1987) MONOMYTHS AND JOURNEYS
• This theorist defined classic structure in
narratives and many stories and called it
monomyth ,coined from the tale of ‘Finnigan's
Wake’ by James Joyce
• The first section of the monomyth is Separation.
In this stage the hero detaches or is separated
from the ‘normal reality’.
• The second section of the monomyth is Initiation
and in this section the hero is developed into
their true heroic self through trials and
tribulations. Through battles and daring the true
hero emerges.
• The third section of the monomyth is known as
the Return. The hero returns and is greeted with
well deserved recognition but it is not without its
trials

8. LYOTARD: (1924-1998) POST MODERN THEORY AGAINST META NARRATIVES, PRO
MICRO NARRATIVES AND FRAGMENTATION
• This theorist suggested that traditional ways of thinking
about narrative are flawed.
• He believed that the metanarrative had failed modern
society as we related everything back into the grand
narrative of historical events. That science an
rationalisation didn’t create ‘perfect knowledge’.

9. HOW DOES ANY OF THIS LINK INTO MY PRODUCTION?:
• Firstly I must contend that in early stages of planning for my
narrative I had to take into consideration all of the theories and
codes for the narratives structure and roles, this was inclusive
of Todorov (five act structure), Levi-Strauss (Binary oppositions),
Roland Barthes (Theory on the cultural; semantic, symbolic,
hermeneutic and proairetic) and Joseph Campbell (Monomyths
and Journeys).

10. TODOROV’S LINK:
• Primarily, Todorov’s five act structure influenced my writing and can be found in the narrative of my story.
The equilibrium will not be the first part of my structure however but it does exist as part of this five act
structure. The equilibrium being the good relationship between the mother and the child in the flashbacks,
highlighting the consideration of the equilibrium as a necessity in the narrative.
• We then have the disequilibrium which in this case is featured in the beginning of the narrative. The
disruption of the normal social/structured system is the death of the mother, this disrupts the main character
and causes her to become dethatched from this normal environment of reality.
• Thirdly we have the recognition which in this case is the moment of realisation between her and the cat,
when my character at hand realises that she is in fact taking out her frustrations on her mothers cat.
• Fourthly comes the attempt at fixing the change which comes when the girl shows affection towards the cat
in attempt to make amends for her lack of coping with the loss of her mother.
• And lastly is the new equilibrium when the girl finally lets go of all her anguish and becomes a happier
person knowing that her mother is still looking over her.
• Yes the structure of my narrative may appear unconventional to place things in such an order however I
believe this necessary for the understanding and engagement of the audience as they will first see loss,
understanding that this film’s focus is ‘dealing with loss’

11. LEVI-STRAUSS’ LINK:
• This links into my narrative because I will be using characters whom are binary oppositions to each other. A
passenger in the car with the car will act as an cheery and happier counter part to the depressive and low
girl. The bullies will also act in this way as they will be brightly dressed and are binary opposites to the kind
and sympathetic nature of the mother. Additionally the cat parallels the negative state in which the girl
appears to be in. This helps to solidify that…
• A) The girl is firstly isolated by the lack of understanding from the other passenger due to the fact that the
girl is dealing with the loss in a much different way to the passenger, the fact that this character is the first
and one of the only characters in the beginning only furthers the isolation felt by the primary character.
• B) Bullies helped to further create this division between the ‘normal’ ideal and this darker and more obscure
girl.
• C) The girl isn't as well equipped to deal with negativity and thus needs guidance from an older and wiser
counter part. Her mother is this excellent counter part.
• D) The girl isn’t complacent.

12. ROLAND BARTHES’ LINK:
• The theory of Cultural; semantic, symbolic, hermeneutic and proairetic, plays largely into
my narrative planning as I have considered the symbolism and heavily using the
hermeneutic code to create a sense of dramatic irony and suspense for the main
character to be a part of. For example the constant use of metaphors and background
signifiers (i.e. the wind being a semantic sign of a paranormal presence) will be woven
throughout my short film. The cultural code links due to using the preconceived
knowledge that that audience perceives to be truth, that being a brief understanding of
religion and the representation of paranormal elements within film.

13. JOSEPH CAMPBELL’S LINK:
• Joseph Campbell's theory of monomyths and journeys links very strongly into my narratives
idea as it illustrates classic structure.
• The separation of the character from reality applies to the opening of the narrative when the
main character becomes disconnected from other characters, she grieves and thus does not
have the willingness to allow what once was in the ‘real’ world to connect with her.
• Her revelation is the predecessor to the transformation into her greater self.
• The deserved recognition towards is the end is where she accepts herself and her mother for
what they are.