Narrative investigation
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This document discusses different narrative structures and theorists. It begins by defining narrative as story structure and devices. It describes linear and circular structures, and how Aristotle and Freytag developed basic plot structures. It then discusses narrative theorists like Todorov and his model of equilibrium, disequilibrium, resolution, and restoration. Next it links Carroll's three phase model of onset, discovery, and disruption to the horror genre. Finally, it notes Todorov also argued narratives involve an initial situation, a disruptive problem, and a resolution reinstating the initial situation.
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Todorovs narrative theory
Tzvetan Todorov is a historian and essayist who developed a theory of narrative structure. He proposed that narratives follow a circular pattern of equilibrium, disruption, and new equilibrium. Specifically, they begin with an initial stable state, experience some event that disturbs the order, and conclude after the disruption has been addressed and a new stable state restored, with the characters or situation transformed. According to Todorov, the middle portion can depict actions outside of social norms, and some stories involve multiple disruptions before achieving resolution.
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A short story contains key elements such as characters, setting, plot, point of view, conflict, and theme. It is a brief work of prose fiction that typically features a small cast of characters in a single conflict that leads to a climax. The plot follows an exposition, rising action, climax, falling action, and resolution. Conflict in a short story can involve man against man, nature, society, supernatural beings, or himself. Point of view is presented through first, second, or third person narration. The theme is the central idea or belief conveyed by the story.
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Narrative structure in film
Narrative structure in film refers to how films tell stories through a sequence of events. Films use narrative form to structure stories, with a beginning, middle, and end. Key elements of narrative structure include an exposition, rising action, climax, falling action, and resolution. Character development and conflicts between characters, nature, society, or other forces drive the narrative forward. Filmmakers select and order events to craft a plot that tells a version of the complete story in a concise time frame.
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The document discusses the design choices for a magazine called "Scum" targeted towards rebellious teenagers interested in grunge music and style. The magazine features a model with dirty blonde hair, denim jacket, and festival bands to represent the target audience. Bright colors and bold fonts are used throughout that align with websites promoting lazy oaf and drop dead fashion styles. The written content focuses on "hipster" bands that share similar musical tastes and lifestyle as the target 17-21 year old readership.
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The document summarizes feedback from questionnaires given to the target audience of a documentary. The feedback showed that the documentary looked professional but some felt the sound quality was uneven. Most agreed they learned from the documentary and found the music and voiceover informative. The radio trailer and magazine effectively promoted the documentary and were aesthetically pleasing, though some felt improvements could be made to sound levels. Gaining audience perspective provided crucial feedback on how well the media products achieved their goals.
Skills development
This document discusses and demonstrates various skills Luke Gort has developed for image editing and magazine layout using Photoshop. It shows examples of selecting images and text using tools like the magnetic lasso and color range, placing images onto fonts, cutting out elements to create customized shapes, and applying effects like color splash and outer glows to enhance elements. The goal is to practice techniques that can be applied to creating album covers and magazine layouts that are visually appealing and professionally executed.
Indie Front Cover Image Ideas
Here is a slide show that I made that includes images that I could use as a starting point and as inspiration to make my own front cover picture.
Potential tracks
The document discusses potential music videos for three songs:
1) "To The Lighthouse" by Patrick Wolf, which has varying pace and lyrics that can be interpreted in many ways, allowing for a narrative-based video.
2) "First Train Home" by Imogen Heap, which has a bouncy pop beat and vague story that could be interpreted freely, possibly featuring trains or parties.
3) "4 O'Clock" by Emilie Autumn, which could feature a clock-based editing style to match the clock beat, with melodramatic costumes and strong lighting contrasts, as the song associates with witches and evil.
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Key concept narrative
- The document discusses key concepts in narrative theory including linear vs. non-linear narratives, different theorists like Todorov and Barthes, and experimental forms like modular narratives.
- It provides tasks for students to analyze the narrative structure of their music video by identifying events, character types, and how it fits traditional or experimental theories.
- Students are asked to choose one or two narrative theories that best apply to their video, but also note how it experiments with the theory.
Narrative Theory
The document discusses various theories of narrative structure from theorists like Todorov, Barthes, Propp, Campbell and others. It analyzes how narratives typically establish equilibrium, face disruption, recognize change, take action to restore order, and end with a new equilibrium. Narratives also follow common patterns like linear cause-and-effect resolution of an initial enigma. The document also examines different types of music videos like performance clips that focus on the artist and conceptual/narrative clips that tell a visual story.
Narrative theory hand out
This document discusses several concepts and theories related to narrative structure in film. It defines key terms like narrative, diegesis, story and plot. It also describes different types of narrative range, depth, and theories put forth by Russian formalists and scholars like Vladimir Propp, Tzvetan Todorov, and Allan Cameron. Propp identified character types and spheres of action in folktales, while Todorov outlined a 5-stage structure of equilibrium, disruption, recognition, attempt to repair, and reinstatement of equilibrium. Cameron defined 4 types of modular narratives - anachronic, forking paths, episodic, and split screens.
Narrative investigation
Narrative refers to story structure and devices used in genres. There are linear narratives with a clear beginning, middle, and end, as identified by Aristotle. There are also circular narratives where the beginning and end are the same. Todorov's narrative theory states stories follow an equilibrium-disequilibrium-recognition-resolution-restoration structure. Propp analyzed folktales and identified 8 character roles and 31 functions that advance the story. Barthes identified codes within narratives, including the hermeneutic code of unexplained mysteries, the semantic code of additional meanings, the cultural code of assumed truths, the proairetic code of implied future actions, and the symbolic code of deeper meanings.
Narrative theory hand out copy
This document discusses various concepts and theories related to narrative structure in film. It defines key terms like narrative, diegesis, story and plot. It also describes different types of narrative range, depth, and theories put forward by Vladimir Propp and Tzvetan Todorov regarding character types and conventional narrative structure. Finally, it outlines Allan Cameron's theory of modular narratives, identifying four types: anachronic, forking paths, episodic, and split screens narratives.
Narrative Theory
This document discusses various concepts and theories related to narrative structure in film. It defines key terms like narrative, diegesis, story and plot. It also describes different types of narrative range, depth, and theories put forward by Vladimir Propp and Tzvetan Todorov regarding character types and conventional narrative structure. Finally, it outlines Allan Cameron's theory of modular narratives, identifying four types: anachronic, forking paths, episodic, and split screens narratives.
Todorov's narrative theory
Todorov proposed a theory of narrative structure that states narratives begin with a period of equilibrium, followed by an event that causes disequilibrium and unrest, and concludes with the protagonists achieving a renewed state of equilibrium and resolution. His theory suggests all media follows this basic pattern of introducing characters in a calm state, disrupting that calm with some challenge or problem, and ultimately restoring order and peace by resolving the disruption.
Todorov's narrative theory
I researched Todorov's narrative theory and found an explanation of the structure. created using powerpoint presentation
Todorov's narrative theory
Todorov proposed a theory of narrative structure that states narratives begin with a period of equilibrium, followed by an event that causes disequilibrium and unrest, and concludes with the protagonists achieving a new state of equilibrium and resolution. His theory suggests all media follows this basic pattern of introducing characters in a calm state, disrupting that calm with some challenge or problem, and ultimately restoring order and peace by resolving the disruption. The theory views narrative as having two parts - a structure defined by the equilibrium shifts, and various elements like images and texts that create and resolve situations within that structure.
Narrative theory
Narrative refers to the way events are structured and presented to an audience, rather than just being a sequence of events themselves. When analyzing a narrative, we examine how the story is constructed, not just the story content. All media texts use narrative, whether they are long or short forms. Narrative theory is important for defining the horror genre, as Noel Carroll's "Philosophy of Horror" identifies a traditional 3-part structure for horror films including an onset phase introducing a monster, a discovery phase where characters find the monster, and a disruption phase where characters destroy the monster and restore normality.
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.
Narrative theory
This document outlines key concepts in narrative theory, including narrative structures, forms, theorists, and their theories. It discusses Vladimir Propp's identification of 8 character roles and 31 narrative functions in folk tales. It also summarizes Tzvetan Todorov's theory of disrupted equilibrium, Roland Barthes' 5 action codes, Claude Levi-Strauss' theory of binary oppositions, Victor Shklovsky's distinction between plot and story, and theories by David Bordwell/Kristin Thompson and Gill Branston/Roy Stafford. The document provides examples and activities for students to apply these narrative theories.
Narrative structure
Todorov proposed a theory of narrative structure with 5 stages: 1) initial equilibrium, 2) disruption, 3) recognition of disruption, 4) attempt to repair disruption, 5) reinstatement of equilibrium. This model describes the structure of many mainstream film narratives by depicting a disruption followed by an attempt to return to the initial stable state. Todorov also suggested narratives follow patterns of equilibrium and disequilibrium.
Todorovs narrative theory
Todorov was a Bulgarian structuralist linguist who suggested in the 1960s that narratives follow a five-stage structure: establishing equilibrium at the beginning, disrupting it through some event, recognizing the disruption, attempting to repair it, and reinstating the equilibrium at the end. This narrative structure of establishing and restoring order is very familiar and can be seen in many mainstream film narratives according to Todorov's theory.
Todorov's theory
Todorov's narrative theory proposes that all stories follow a 5-step pattern: 1) an initial state of equilibrium, 2) a disruption to that equilibrium, 3) the characters realizing the cause of the disruption, 4) an attempt to restore order, and 5) the final return to equilibrium with the problem resolved. The theory suggests storylines will feature a normal beginning, a problem that upsets things, understanding of why the problem occurred, efforts to fix the damage, and ultimately a resolution that brings things back to normal.
Anti narrative
The document discusses conventional narrative structure and anti-narrative structure. Conventional narrative structure as defined by Tzvetan Todorov has five stages: (1) equilibrium, (2) disruption to equilibrium, (3) recognition of disruption, (4) attempt to repair disruption, (5) reinstatement of equilibrium or new equilibrium. Anti-narrative structure presents events out of chronological order and can be used to mimic memory or show interlinked subplots. Examples of directors who employ anti-narrative include Quentin Tarantino, Steven Soderbergh, and Christopher Nolan.
Narrative Theory of Equilibrium
The document discusses Todorov's narrative theory, which states that a narrative follows five stages: 1) an initial state of equilibrium, 2) a disruption to that equilibrium, 3) recognition of the disruption, 4) an attempt to repair the damage, and 5) the restoration of a new equilibrium. It notes that while narratives are circular rather than linear, the final equilibrium is not identical to the initial one, as the narrative involves some transformation. Horror stories in particular rely on multiple disruptions as characters seek a new equilibrium.
Narrative theory
This document discusses several narrative theories:
- Levi-Strauss proposed that binary oppositions (good vs evil, hero vs villain) define how audiences perceive characters.
- Todorov described a four-act story structure of equilibrium, disruption, recognition, and repair.
- Propp identified character roles like villain, donor, and hero that recur across narratives.
- Barthes identified codes like mystery, tension, and symbolism that make narratives engaging.
- Campbell described common archetypes like the quest and initiation that recur across stories.
- Lyotard criticized how "grand narratives" shape our understanding of stories in potentially flawed ways.
Narrative investigation
The document discusses different narrative structures and theories of narrative. It describes linear narratives as having a clear beginning, middle, and end, while circular narratives end where they begin. Vladimir Propp analyzed Russian fairy tales and identified character roles like the hero, villain, and dispatcher. Tzvetan Todorov's theory is that narratives move from an initial equilibrium, to a disruption of that equilibrium (disequilibrium), to a restored equilibrium. Claude Levi-Strauss examined how myths reflect a culture's beliefs through binary oppositions like good vs evil.
Narrative structure
Narrative structure in films typically follows a three-act structure of beginning, middle, and end. This includes establishing an initial equilibrium, a disruption that introduces a problem, and restoring order by resolving the problem. Several narrative theories describe common patterns in film structure. Todorov's theory outlines a five-stage process from equilibrium to equilibrium via disruption, realization, restoring order. Propp's theory categorizes character types like heroes, villains, and helpers. Levi-Strauss theory views narratives as differences of opinion, such as good vs evil.
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Storyboard
The storyboard is for a film titled "Wild Fear". It depicts a group of friends on a camping trip in the woods who encounter a mysterious creature stalking them in the night. Scenes show the friends setting up camp, hearing strange noises after dark, discovering a campsite torn apart, and finally catching a glimpse of a shadowy figure watching them from the trees.
Trailer Break Down
A behind the scenes documentary about filming a horror movie turns into a real horror scenario. The location scout goes into the woods to find a better filming location and is then heard screaming. When the director and actor go to investigate, they find the scout's camera covered in blood. The tone then shifts to resemble a typical horror film, with quick cuts showing characters being dragged, running, tripping, and hiding from an unseen threat. The last shot shows a bloodied girl screaming before the camera is destroyed, suggesting whatever they were filming has become frighteningly real.
Distribution
House of Horrors is New Line Cinema's licensing division that has created and distributed successful horror films such as A Nightmare on Elm Street, Friday the 13th, Texas Chainsaw Massacre, and The Conjuring. This document suggests that a new horror film could achieve similar success if supported by House of Horrors' distribution capabilities.
Masthead Typography
This document discusses typography used in mastheads. Mastheads are the titles or nameplates at the top of publications like newspapers and magazines. The typography choices in a masthead help set the tone for the publication and should reflect the intended audience and content within.
Target Audience
This document provides information about a target audience for a marketing campaign. The target audience is males and females aged 15 and older with low spending power who have an interest in horror films. They enjoy cinema, social networking sites, and socializing. Their demographics are males and females aged 15+ from socioeconomic classes A through E. Their psychographics include being of middle social class and having an interest in horror films.
Concept
A film crew is making a horror movie but the director is unhappy with their location, so a location tester goes into the woods with a camera to find a new spot but is killed. As the crew and cast begin to die one by one, it is revealed that three hunters who live in the woods have been raised to believe killing people is a game.
Horror Trailer Analysis
The document provides descriptions of cinematography, editing, sound, and mise-en-scene techniques used in the trailers for three horror films: A Nightmare on Elm Street, Paranormal Activity 4, and The Woman in Black. For each film, the cinematography creates tension through close-ups and distorted shots. Editing uses fast pacing and motivated cuts to build suspense. Non-diegetic sound like children's voices and music add to the eerie atmosphere. Settings appear dark, chaotic, and haunted to emphasize the horror genre.
Horror Poster Analysis
The poster conveys the typical look of a horror film through its dark colors. It establishes expectations that the film will be similar to other successful horror films produced by the same producer, as mentioned in the tagline at the top. The title is prominently displayed in white text over the image of a mysterious child in the corner, drawing attention and hinting at supernatural themes. A selling line below the title adds intrigue and suggests the narrative will involve exploring what is meant by that line.
Representation investigation
Representation involves using signs and symbols to present a concept or social group to an audience. Theories of representation note that groups are often stereotyped in media through focusing on characteristics like age, gender, or ethnicity to make assumptions about them. When applied to horror films, representation theory examines how genres represent groups like women, often initially portraying them as vulnerable but sometimes subverting expectations by showing them as heroes by the end.
Real media texts investigation
The document discusses three horror movie trailers - A Nightmare on Elm Street, The Woman In Black, and Paranormal Activity 4. It analyzes how each trailer uses common horror conventions like supernatural beings, jumpy scenes, blood and gore, darkness, and manipulated nursery rhymes to build suspense. However, Paranormal Activity 4 partly breaks from conventions by using a handheld camera technique not typically seen in horror trailers.
Media language investigation
The document analyzes the trailers for three horror films - A Nightmare on Elm Street, The Woman in Black, and Paranormal Activity 4 - focusing on their use of cinematography, editing, sound, and mise-en-scene to create tension and establish the horror genre. For each film, cinematography uses close-ups and shaky cameras. Editing includes fast cuts and fade-outs. Sound incorporates unsettling music, children's voices, and distorted effects. Mise-en-scene features dark lighting, fire, crosses, and realistic everyday settings to scare audiences.
Digital technology investigation
Digital technology refers to on-demand access to content anytime on digital devices and includes the internet, websites, video games, and optical discs. When creating a horror film, a variety of digital technologies are needed such as filming, producing, burning to disc, creating packaging, and uploading trailers to YouTube to make the content globally accessible. Digital technologies allow for manipulated, networkable, and interactive media.
Creativity investigation
Creativity is defined as using imagination or original ideas to create artistic works. A document discusses using creative features in horror movie trailers, such as soundtracks that add tension and suspense, as well as realistic supernatural costumes and gory scenes known in the horror genre to make the trailers more frightening.
Audience investigation
Audience investigation examines who media texts target and who consumes them. Audiences can be divided into demographics like age or gender, and psychographics like interests or values. Uses and gratifications theory from 1974 proposes that people choose media for entertainment, information, social relationships, and identity. The hypodermic syringe model from early theories suggested information is absorbed without thought, making consumers vulnerable to manipulation. While some feared horror films could influence crimes, studies argue they allow viewing crimes' feelings without committing them, satisfying consumers through a shared experience.
Post production investigation
Post-production involves all stages that occur after filming or recording has finished. For a horror trailer, key post-production stages include editing together filmed clips, adding non-diegetic music, and incorporating special effects through digital technology to develop the final trailer in a quicker and easier process compared to the past.
Research and planning investigation
Research and planning takes into account all aspects of developing, producing, and selling a product to consumers. This includes conducting surveys, analyzing sales reports, and carefully planning the cinematography, editing, sound, and visual elements when creating a specific medium, such as a horror film, to ensure it has a professional feel and interests the target audience. Proper research and planning is needed at each stage of making a horror film and in marketing the final product to be successful.
Genre Investigation
Genre is a way of categorizing media texts based on their content and style. Each genre has distinguishing characteristics that allow audiences to predict how the plot will develop. There are many genres, including horror, comedy, crime, romance, and sci-fi, which can be hybrids of different genres. Genres appeal to specific target audiences and contain certain conventions - for example, horror films typically involve tension, drama, and supernatural elements, often ending in multiple deaths. Genre theorists note that genres allow for repetition with variation over time and between cultures. The horror genre in particular explores fundamental human existential questions and goes beyond mere societal representations to deeper philosophical issues.
Layouts
This document provides layout guidelines for different page types including front covers, contents pages, and double page spreads. It addresses design considerations for page headers, body text, and visual elements on multi-page layouts. The guidelines aim to create a consistent style throughout a publication.
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Narrative investigation
- 2. WHAT IS NARRATIVE • Narrative refers to the different types of story structure that genres employ as well as the actual story telling devices and narrative moments which they are associated with. • There are narrative structures such as the LINEAR narrative, this means that there is a clear beginning, middle and end. AIRSTOTLE developed the basic linear structure. He observed that the middle section may involve some crisis resolved by the end of the story. • There is also a CIRCULAR narrative structure where the beginning is the same as the end of the film. • Freytag developed Airstotle’s basic triangle, the idea of the plot complicating. • The rising and falling action may vary during film trailers, typically with the slow building rising action with an abrupt ending which usually uses a series of shot takes and fast paced editing.
- 3. NARRATIVE THEORISTS • Torodov’s narrative theory states that the narrative will follow this structure; • EQUILIBRIUM (how the place and characters begin at the beginning of the story) • DISEQUILIBRIUM (a disruption to the equilibrium) • RESOLUTION (plan to resolve the disequilibrium) • RESTORATION TO THE DISEQUILIBRIUM (the story returns back to the beginning)
- 4. NARRATIVE THEORISTS LINKING TO THE HORROR GENRE • Noel Carroll maps out the traditional narrative structure of the horror genre in three stages; • The first he names the ‘Onset Phase’ where a disorder is created, generally in the form of a monster. • The second Carroll calls the ‘Discovery Phase’ where the characters of the story discover that the disorder has occurred. • The third phase he calls is the ‘Disruption Phase’ where the characters destroy the source of the disorder and restore normality. • This is similar to what Todorov stated, he argued that the basis of conventional narrative structure consists of a initial situation, a problem which disrupts the situation, a resolution of the problem which allows the reinstatement of the initial situation.