Narrative Revision
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The document discusses several theories of narrative structure: - Todorov's four main stages of a narrative: equilibrium, disruption, resolution, new equilibrium. - Levi-Strauss's theory that the resolution of binary opposites (e.g. Batman/Joker) creates narrative. - Propp's morphology of folk tales, which identifies 7 character types and 31 possible functions that characters can fulfill. The document suggests applying these theories to analyze the narrative structure of one's own film coursework. It prompts the identification of binary opposites, character types, and how these affect audience engagement.
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Narrative theory
The document discusses several narrative theories and how they apply to films. It explains Todorov's narrative structure of five stages - equilibrium, disruption, recognition, attempt to repair, new equilibrium. Propp identified 8 character types and 31 functions that commonly appear in stories. Levi-Strauss discussed how binary oppositions like good/evil drive narratives and create meaning. Barthes' enigma code explained how narratives use mystery through codes like hermeneutic and proairetic to intrigue audiences. Examples are provided of how psychological thrillers employ these various narrative concepts.
Comparable products research posters
The document analyzes and compares three movie posters:
1) The Logan poster uses silhouette and lighting to imply one character is torturing another, representing the "good vs evil" theme.
2) The Connected poster focuses on two anonymous characters who must support each other to survive, as shown by their joined gas masks.
3) The No Country for Old Men poster uses character positioning and color scheme to convey a sense of danger and establish its main character's dominance, in line with the thriller genre.
Narrative theory
The document discusses several narrative theories and how they apply to films. It explains Todorov's 5 stages of narrative structure which are equilibrium, disruption, recognition, attempt to repair, and new equilibrium. This theory is demonstrated through an analysis of the plot of the film "Gone." It also outlines Propp's 8 character types and 31 narrative functions, again using "Gone" as an example. Finally, it discusses Levi-Strauss' concept of binary oppositions, and Barthes' enigma code and how films like "Se7en," "Insomnia," and "Frozen" employ these concepts.
Narrative theories
Todorov's narrative theory proposes that stories follow a structure of equilibrium, disequilibrium, and a return to a new equilibrium. Propp identified 7 character types and 31 narrative functions that commonly appear in stories. Strauss argued that conflict drives narratives and opposites create conflict. Barthes described the "enigma code" where clues are given in stories without revealing crucial plot points, engaging audiences.
Narrative theory
The document discusses several narrative theories that can be applied to analyzing the structure and meaning of films. It explains Todorov's five stages of narrative structure, including equilibrium, disruption, recognition, attempt to repair, and new equilibrium. Propp identified eight common character types and 31 potential functions in narratives. Levi-Strauss discussed how binary oppositions like good/evil drive conflict and resolution in stories. Barthes' enigma code explained how narratives use partial explanations and codes like tension-building to intrigue audiences into further viewing. Examples are provided of how these theories apply to analyzing the films Gone, Black Swan, Se7en, Insomnia, and Frozen.
Genre theories
Genre theory proposes that genres categorize different media texts based on shared content, form, themes, and conventions. Several media theorists have proposed definitions and functions of genres. Chandler defined genres based on shared content and form to help audiences understand films. Buckingham argued that genres are dynamic rather than fixed over time. Knight proposed that genres provide pleasure through deferring inevitable outcomes and eliciting emotions. Neale agreed that pleasure comes from repetition of conventions with some differences. Bordwell contradicted the idea of fixed genres, arguing any theme can appear in any genre, like the hybrid genre of the author's short film.
S h o r t f i lm 2222222222222222222222222222222222222222222222222222222222...
The document summarizes and analyzes several short horror films using various film theory concepts. For the film "Zombie", it discusses how the opening establishes codes for the audience to understand what is happening from the protagonist's perspective. For "The Rattler", it discusses how the opening establishes the protagonist being harassed by an unknown caller, conforming to theories of villain/hero roles, and subverts expectations of equilibrium. For "Night Swim", it discusses how the opening sexualizes the female protagonist through her attire while swimming but challenges expectations through upbeat music. For "Amy's Torch", it discusses how the opening establishes the monster under the bed as the villain and questions the hero status among the mother and torch
Narrative theory
Vladimir Propp studied folktales and identified 8 character types and 31 functions that advance the story. Propp's theory includes character types like the hero, villain, and princess, and functions like prohibiting the hero or the villain learning about the victim. Levi-Strauss argued that narratives rely on binary oppositions like good/evil that create conflict and drive the story. Both theories can apply to teen horror movies, which feature character types and explore oppositional themes of good versus evil. Barthes' enigma code also fits the genre as teen horror often starts with a mystery like an unsolved murder to pique audience interest.
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Narrative theory
The document discusses several narrative theories and how they apply to films. It explains Todorov's narrative structure of five stages - equilibrium, disruption, recognition, attempt to repair, new equilibrium. Propp identified 8 character types and 31 functions that commonly appear in stories. Levi-Strauss discussed how binary oppositions like good/evil drive narratives and create meaning. Barthes' enigma code explained how narratives use mystery through codes like hermeneutic and proairetic to intrigue audiences. Examples are provided of how psychological thrillers employ these various narrative concepts.
Comparable products research posters
The document analyzes and compares three movie posters:
1) The Logan poster uses silhouette and lighting to imply one character is torturing another, representing the "good vs evil" theme.
2) The Connected poster focuses on two anonymous characters who must support each other to survive, as shown by their joined gas masks.
3) The No Country for Old Men poster uses character positioning and color scheme to convey a sense of danger and establish its main character's dominance, in line with the thriller genre.
Narrative theory
The document discusses several narrative theories and how they apply to films. It explains Todorov's 5 stages of narrative structure which are equilibrium, disruption, recognition, attempt to repair, and new equilibrium. This theory is demonstrated through an analysis of the plot of the film "Gone." It also outlines Propp's 8 character types and 31 narrative functions, again using "Gone" as an example. Finally, it discusses Levi-Strauss' concept of binary oppositions, and Barthes' enigma code and how films like "Se7en," "Insomnia," and "Frozen" employ these concepts.
Narrative theories
Todorov's narrative theory proposes that stories follow a structure of equilibrium, disequilibrium, and a return to a new equilibrium. Propp identified 7 character types and 31 narrative functions that commonly appear in stories. Strauss argued that conflict drives narratives and opposites create conflict. Barthes described the "enigma code" where clues are given in stories without revealing crucial plot points, engaging audiences.
Narrative theory
The document discusses several narrative theories that can be applied to analyzing the structure and meaning of films. It explains Todorov's five stages of narrative structure, including equilibrium, disruption, recognition, attempt to repair, and new equilibrium. Propp identified eight common character types and 31 potential functions in narratives. Levi-Strauss discussed how binary oppositions like good/evil drive conflict and resolution in stories. Barthes' enigma code explained how narratives use partial explanations and codes like tension-building to intrigue audiences into further viewing. Examples are provided of how these theories apply to analyzing the films Gone, Black Swan, Se7en, Insomnia, and Frozen.
Genre theories
Genre theory proposes that genres categorize different media texts based on shared content, form, themes, and conventions. Several media theorists have proposed definitions and functions of genres. Chandler defined genres based on shared content and form to help audiences understand films. Buckingham argued that genres are dynamic rather than fixed over time. Knight proposed that genres provide pleasure through deferring inevitable outcomes and eliciting emotions. Neale agreed that pleasure comes from repetition of conventions with some differences. Bordwell contradicted the idea of fixed genres, arguing any theme can appear in any genre, like the hybrid genre of the author's short film.
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The document summarizes and analyzes several short horror films using various film theory concepts. For the film "Zombie", it discusses how the opening establishes codes for the audience to understand what is happening from the protagonist's perspective. For "The Rattler", it discusses how the opening establishes the protagonist being harassed by an unknown caller, conforming to theories of villain/hero roles, and subverts expectations of equilibrium. For "Night Swim", it discusses how the opening sexualizes the female protagonist through her attire while swimming but challenges expectations through upbeat music. For "Amy's Torch", it discusses how the opening establishes the monster under the bed as the villain and questions the hero status among the mother and torch
Narrative theory
Vladimir Propp studied folktales and identified 8 character types and 31 functions that advance the story. Propp's theory includes character types like the hero, villain, and princess, and functions like prohibiting the hero or the villain learning about the victim. Levi-Strauss argued that narratives rely on binary oppositions like good/evil that create conflict and drive the story. Both theories can apply to teen horror movies, which feature character types and explore oppositional themes of good versus evil. Barthes' enigma code also fits the genre as teen horror often starts with a mystery like an unsolved murder to pique audience interest.
AS Media - Narrative research task
Sam is bullied by another boy named George. In an attempt to get revenge, Sam's older brother lures George into the woods under false pretenses. Their plan was just to embarrass George, but it goes wrong when an argument starts and George ends up being pushed out of a boat and drowning. The others involved initially try to cover up what happened by burying George's body, but they eventually feel guilty and confess to the police. George's video camera is then discovered, revealing the full story.
22 useful theory for the exam
The document discusses several narrative theories including Todorov's theory of narrative structure, Levi-Strauss's theory of binary opposites, Barthes' theory of enigma and action codes, and Propp's theory of character types. It also discusses feminist theory and how it analyzes representations of women in action-adventure films, finding that these films often celebrate male power and depict women as subservient or objects to be looked at. Finally, it discusses concepts of realism and how all media texts are constructed versions of reality, even if they aim to seem plausible.
Know your genre (1)
This document provides research on the crime genre for a group school project. It lists popular crime films like Se7en, LA Confidential, and The Untouchables and provides 1-2 sentence synopses of each. Key elements of the genre discussed include common settings like New York City and Chicago, iconic shots, protagonists typically being smart and patient versus cunning antagonists, props like police badges and guns, costumes like suits, low-key lighting, and symbolic items like guns representing the era. Research is presented on cinematography, character types, lighting, costumes, make-up, symbols and more to understand tropes of the crime genre.
Narrative research task
Todorov, Propp, and Levi-Strauss' narrative theories are analyzed for their application to the film Divergent. Todorov's 5 stage theory only partially fits the narrative of Divergent. Propp's 7 character archetypes are identified in Divergent, with Tris fulfilling the hero role. Levi-Strauss' theory of binary oppositions is also seen in themes of strength/weakness and right/wrong that are central to the plot of Divergent.
Tom v's narrative theory
The document discusses several narrative theories and their application to teen slasher films. It describes Vladimir Propp's characterization of 8 character types and 31 narrative functions that move stories along. Propp's theory is difficult to apply to teen slashers which lack generic heroes. Claude Levi-Strauss suggested binary oppositions like good/evil drive narratives by creating conflict. This theory can be applied to teen slashers through themes of good vs evil and male vs female. Roland Barthes' concept of enigma codes refers to unexplained narrative elements that create mystery and suspense. In teen slasher films, the identity of the killer is typically the main enigma revealed at the end.
Narrative theory
The document discusses several narrative theories and their application to teen slasher films. It describes Vladimir Propp's characterization of 8 character types and 31 narrative functions but notes this theory is difficult to apply to teen slashers, which lack generic heroes. Torodov's narrative structure of equilibrium, disruption, recognition, repair and new equilibrium is also challenging to apply as teen slashers don't have happy endings. However, Levi-Strauss' concept of binary oppositions around themes like good vs evil can be easily applied. Additionally, Roland Barthes' idea of enigma codes, where mysteries are unsolved until the end, is clearly demonstrated in films like Scream by the unknown killer's identity.
Micro and Macro elements in film
This document summarizes key micro and macro elements of film. For micro elements, it discusses cinematography techniques like camera angles and shots, as well as mise-en-scene elements, sound design, and editing styles. Macro elements include narrative structures, genres, representations of gender and class, and how films target audiences. Micro elements are technical aspects of filmmaking, while macro elements relate to higher-level concepts like storytelling and social themes.
Macro features Film Studies
Slideshow with information on macro features and the main types of macro features which are analysed in film studies.
Narrative
This document discusses several narrative theories and how they apply to teen slasher films. It analyzes Todorov's narrative structure of equilibrium, disruption, recognition, and new equilibrium. While most films follow this structure, teen slashers are more irregular in their ordering. It also examines Propp's character types and narrative functions, noting teen slashers don't always have clear heroes and have multiple "princess" characters. Finally, it applies Levi-Strauss' concept of binary oppositions and Barthes' "enigma code" to teen slasher conventions like revealing the killer's identity.
Untitled document (6)
The document discusses key elements of the action/crime thriller genre that will be used in an opening sequence for a film project. These include:
1) Narrative codes like fast pacing, gunshots, killings and death.
2) Settings like abandoned warehouses which are suitable for the opening sequence.
3) Iconography elements like guns and killings that audiences expect in this genre.
4) The style will be action and crime thriller.
5) Themes of vengeance, love and death will be included.
6) The target audience is individuals of all ages since action movies are popular everywhere.
7) The opening sequence will feature a protagonist as the main character.
Intro
There are multiple ways to analyze films, including using Lacey's framework of five elements (setting, character, narrative, iconography, style) to determine a film's genre. Auteur theory can also be used to analyze a director's style and determine if they demonstrate characteristics of an auteur such as consistent themes, innovation, or artistic merit. For example, Martin Scorsese is considered an auteur due to his signature techniques like voiceovers and tracking shots. Film analysts use Lacey's elements to closely examine genres and their conventions. For example, the trailer for "A Walk Among the Tombstones" uses conventions of the action thriller genre like its New York setting and a protagonist on a vigilante
Narrative-Theory
The document summarizes two narrative theories - Vladimir Propp's theory of character types and plot events in folktales, and Claude Levi-Strauss's theory of binary oppositions in narrative. It then explains how an opening sequence for a teen horror genre film draws from both theories, using character types like the villain and hero, and establishing binary oppositions of good vs evil. Roland Barthes' theory of media using mystery and questions to engage audiences is also mentioned as relevant to revealing the killer's identity in teen horror films.
Narrative Theory
The document summarizes two narrative theories - Vladimir Propp's theory of character types and plot events in folktales, and Claude Levi-Strauss's theory of binary oppositions in narrative. It then explains how an opening sequence for a teen horror genre film fits aspects of both theories, containing some of Propp's character types and events and establishing various good vs evil binary oppositions described by Levi-Strauss.
Essay
There are multiple ways to analyze films, including using Lacey's framework of five elements: setting, character, narrative, iconography, and style. These elements can be analyzed to determine a film's genre and conventions. Auteur theory can also be used to analyze a filmmaker's style and determine if they demonstrate characteristics of an auteur such as consistent themes, innovation, or artistic merit. The document provides examples of analyzing the film "A Walk Among the Tombstones" using Lacey's elements and discusses how Martin Scorsese and Luc Besson demonstrate auteur characteristics in their films through elements like distinctive styles and narrative choices.
Evaluation Question !
The document analyzes how the media product "Deadly Rendez-Vous" uses and develops conventions of real thriller films. It discusses several conventions used: the visual style takes inspiration from the black-and-white film noir style of "Lift to the Scaffold"; the antagonist is a mysterious femme fatale character; the protagonist role is initially unclear, adding an element of mystery; themes of mystery, jealousy, and envy are explored through the plot and symbols; the setting of an empty courtyard is used to facilitate a witnessed murder; icons and props are used to set an unexpected tone before the thriller events occur.
Theory
The document discusses several theories of narrative structure, including circular, episodic, and linear structures. It also summarizes the works of Tzvetan Todorov, Vladimir Propp, and Claude Levi-Strauss regarding narrative elements. The author concludes that they will use a circular narrative structure for their gangster film opening in order to engage audiences and set the scene through flashbacks within the first few minutes.
Film theorists
The document discusses various narrative and genre theories put forth by different theorists. It summarizes the key ideas from several theorists, including Roland Barthes, who proposed codes for analyzing narratives like the hermeneutic code and enigma code; Steven Neale, who discussed genre conventions and audience pleasure; Levi Strauss, who discussed binary opposites; Tzvetan Todorov, who outlined five stages in narratives; and Vladimir Propp, who identified common character roles in stories like heroes and villains. Examples are given of how some of these theories could be applied to analyzing the horror genre.
Narrative theory
The document summarizes several narrative theories proposed by Vladimir Propp, Claude Levi-Strauss, and Roland Barthes. Propp identified eight character types and thirty-one plot points that commonly occur in folktales. Levi-Strauss suggested that binary oppositions, such as good vs. evil, are key to narrative meaning and resolution. Barthes' theory proposed that media engages audiences through a sense of mystery and questions. The document then discusses how these theories apply to the genre of teen horror movies and the narrative elements used in the opening sequence idea.
The Feminist Theory
Feminist theory explores how gender inequality is portrayed in media such as film. Horror films of the 1970s-1980s often objectified and brutalized female characters in misogynistic ways. However, the "final girl" theory introduced the idea of a female hero character who survives confronting the villain. Still, women were often depicted as "nerdy virgins" who had to behave morally. The Bechdel test, which measures female representation in films, found that 43% of films fail to portray women in a meaningful way by having no more than one named female character or conversations not focused on men. While progress has been made, many films still revolve around male stories and perspectives.
How do we analyze a film
The document discusses analyzing films through examining their use of codes and conventions. It provides examples of conventional films that follow typical narrative structures and represent characters and relationships in predictable ways. Unconventional or "auteur" films are said to challenge conventions by subverting expectations around narratives, characters, and genre tropes. Examples given include Leon, Apocalypse Now, and Pulp Fiction, which break conventions through unconventional protagonists, editing techniques, and non-linear storytelling. Analyzing a film's adherence to or challenging of codes and conventions provides insight into the filmmaker's artistic choices.
GCSE Narrative theories 4
The document discusses Levi-Strauss' theory of binary opposites in narratives and how it can be applied to analyze different film genres. It also discusses Vladimir Propp's theory of archetypal character roles that frequently appear in stories, such as the hero, villain, helper, and princess. The document provides examples of common binary oppositions used in narratives and discusses how audiences identify with characters like the hero in order to engage with the story.
Narrative theory research
The document discusses several narrative theorists and their concepts for analyzing film narratives. It describes Claude Levi-Strauss's theory of binary opposites, such as good vs evil, that are commonly used in narratives. It also outlines Roland Barthes' concept of an "enigma code" used in opening sequences to engage audiences with questions. Additionally, it summarizes Vladimir Propp's identification of character archetypes like the hero, villain, and donor in folktales. Finally, it discusses Tzvetan Todorov's model of narrative equilibrium being disrupted and later restored.
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AS Media - Narrative research task
Sam is bullied by another boy named George. In an attempt to get revenge, Sam's older brother lures George into the woods under false pretenses. Their plan was just to embarrass George, but it goes wrong when an argument starts and George ends up being pushed out of a boat and drowning. The others involved initially try to cover up what happened by burying George's body, but they eventually feel guilty and confess to the police. George's video camera is then discovered, revealing the full story.
22 useful theory for the exam
The document discusses several narrative theories including Todorov's theory of narrative structure, Levi-Strauss's theory of binary opposites, Barthes' theory of enigma and action codes, and Propp's theory of character types. It also discusses feminist theory and how it analyzes representations of women in action-adventure films, finding that these films often celebrate male power and depict women as subservient or objects to be looked at. Finally, it discusses concepts of realism and how all media texts are constructed versions of reality, even if they aim to seem plausible.
Know your genre (1)
This document provides research on the crime genre for a group school project. It lists popular crime films like Se7en, LA Confidential, and The Untouchables and provides 1-2 sentence synopses of each. Key elements of the genre discussed include common settings like New York City and Chicago, iconic shots, protagonists typically being smart and patient versus cunning antagonists, props like police badges and guns, costumes like suits, low-key lighting, and symbolic items like guns representing the era. Research is presented on cinematography, character types, lighting, costumes, make-up, symbols and more to understand tropes of the crime genre.
Narrative research task
Todorov, Propp, and Levi-Strauss' narrative theories are analyzed for their application to the film Divergent. Todorov's 5 stage theory only partially fits the narrative of Divergent. Propp's 7 character archetypes are identified in Divergent, with Tris fulfilling the hero role. Levi-Strauss' theory of binary oppositions is also seen in themes of strength/weakness and right/wrong that are central to the plot of Divergent.
Tom v's narrative theory
The document discusses several narrative theories and their application to teen slasher films. It describes Vladimir Propp's characterization of 8 character types and 31 narrative functions that move stories along. Propp's theory is difficult to apply to teen slashers which lack generic heroes. Claude Levi-Strauss suggested binary oppositions like good/evil drive narratives by creating conflict. This theory can be applied to teen slashers through themes of good vs evil and male vs female. Roland Barthes' concept of enigma codes refers to unexplained narrative elements that create mystery and suspense. In teen slasher films, the identity of the killer is typically the main enigma revealed at the end.
Narrative theory
The document discusses several narrative theories and their application to teen slasher films. It describes Vladimir Propp's characterization of 8 character types and 31 narrative functions but notes this theory is difficult to apply to teen slashers, which lack generic heroes. Torodov's narrative structure of equilibrium, disruption, recognition, repair and new equilibrium is also challenging to apply as teen slashers don't have happy endings. However, Levi-Strauss' concept of binary oppositions around themes like good vs evil can be easily applied. Additionally, Roland Barthes' idea of enigma codes, where mysteries are unsolved until the end, is clearly demonstrated in films like Scream by the unknown killer's identity.
Micro and Macro elements in film
This document summarizes key micro and macro elements of film. For micro elements, it discusses cinematography techniques like camera angles and shots, as well as mise-en-scene elements, sound design, and editing styles. Macro elements include narrative structures, genres, representations of gender and class, and how films target audiences. Micro elements are technical aspects of filmmaking, while macro elements relate to higher-level concepts like storytelling and social themes.
Macro features Film Studies
Slideshow with information on macro features and the main types of macro features which are analysed in film studies.
Narrative
This document discusses several narrative theories and how they apply to teen slasher films. It analyzes Todorov's narrative structure of equilibrium, disruption, recognition, and new equilibrium. While most films follow this structure, teen slashers are more irregular in their ordering. It also examines Propp's character types and narrative functions, noting teen slashers don't always have clear heroes and have multiple "princess" characters. Finally, it applies Levi-Strauss' concept of binary oppositions and Barthes' "enigma code" to teen slasher conventions like revealing the killer's identity.
Untitled document (6)
The document discusses key elements of the action/crime thriller genre that will be used in an opening sequence for a film project. These include:
1) Narrative codes like fast pacing, gunshots, killings and death.
2) Settings like abandoned warehouses which are suitable for the opening sequence.
3) Iconography elements like guns and killings that audiences expect in this genre.
4) The style will be action and crime thriller.
5) Themes of vengeance, love and death will be included.
6) The target audience is individuals of all ages since action movies are popular everywhere.
7) The opening sequence will feature a protagonist as the main character.
Intro
There are multiple ways to analyze films, including using Lacey's framework of five elements (setting, character, narrative, iconography, style) to determine a film's genre. Auteur theory can also be used to analyze a director's style and determine if they demonstrate characteristics of an auteur such as consistent themes, innovation, or artistic merit. For example, Martin Scorsese is considered an auteur due to his signature techniques like voiceovers and tracking shots. Film analysts use Lacey's elements to closely examine genres and their conventions. For example, the trailer for "A Walk Among the Tombstones" uses conventions of the action thriller genre like its New York setting and a protagonist on a vigilante
Narrative-Theory
The document summarizes two narrative theories - Vladimir Propp's theory of character types and plot events in folktales, and Claude Levi-Strauss's theory of binary oppositions in narrative. It then explains how an opening sequence for a teen horror genre film draws from both theories, using character types like the villain and hero, and establishing binary oppositions of good vs evil. Roland Barthes' theory of media using mystery and questions to engage audiences is also mentioned as relevant to revealing the killer's identity in teen horror films.
Narrative Theory
The document summarizes two narrative theories - Vladimir Propp's theory of character types and plot events in folktales, and Claude Levi-Strauss's theory of binary oppositions in narrative. It then explains how an opening sequence for a teen horror genre film fits aspects of both theories, containing some of Propp's character types and events and establishing various good vs evil binary oppositions described by Levi-Strauss.
Essay
There are multiple ways to analyze films, including using Lacey's framework of five elements: setting, character, narrative, iconography, and style. These elements can be analyzed to determine a film's genre and conventions. Auteur theory can also be used to analyze a filmmaker's style and determine if they demonstrate characteristics of an auteur such as consistent themes, innovation, or artistic merit. The document provides examples of analyzing the film "A Walk Among the Tombstones" using Lacey's elements and discusses how Martin Scorsese and Luc Besson demonstrate auteur characteristics in their films through elements like distinctive styles and narrative choices.
Evaluation Question !
The document analyzes how the media product "Deadly Rendez-Vous" uses and develops conventions of real thriller films. It discusses several conventions used: the visual style takes inspiration from the black-and-white film noir style of "Lift to the Scaffold"; the antagonist is a mysterious femme fatale character; the protagonist role is initially unclear, adding an element of mystery; themes of mystery, jealousy, and envy are explored through the plot and symbols; the setting of an empty courtyard is used to facilitate a witnessed murder; icons and props are used to set an unexpected tone before the thriller events occur.
Theory
The document discusses several theories of narrative structure, including circular, episodic, and linear structures. It also summarizes the works of Tzvetan Todorov, Vladimir Propp, and Claude Levi-Strauss regarding narrative elements. The author concludes that they will use a circular narrative structure for their gangster film opening in order to engage audiences and set the scene through flashbacks within the first few minutes.
Film theorists
The document discusses various narrative and genre theories put forth by different theorists. It summarizes the key ideas from several theorists, including Roland Barthes, who proposed codes for analyzing narratives like the hermeneutic code and enigma code; Steven Neale, who discussed genre conventions and audience pleasure; Levi Strauss, who discussed binary opposites; Tzvetan Todorov, who outlined five stages in narratives; and Vladimir Propp, who identified common character roles in stories like heroes and villains. Examples are given of how some of these theories could be applied to analyzing the horror genre.
Narrative theory
The document summarizes several narrative theories proposed by Vladimir Propp, Claude Levi-Strauss, and Roland Barthes. Propp identified eight character types and thirty-one plot points that commonly occur in folktales. Levi-Strauss suggested that binary oppositions, such as good vs. evil, are key to narrative meaning and resolution. Barthes' theory proposed that media engages audiences through a sense of mystery and questions. The document then discusses how these theories apply to the genre of teen horror movies and the narrative elements used in the opening sequence idea.
The Feminist Theory
Feminist theory explores how gender inequality is portrayed in media such as film. Horror films of the 1970s-1980s often objectified and brutalized female characters in misogynistic ways. However, the "final girl" theory introduced the idea of a female hero character who survives confronting the villain. Still, women were often depicted as "nerdy virgins" who had to behave morally. The Bechdel test, which measures female representation in films, found that 43% of films fail to portray women in a meaningful way by having no more than one named female character or conversations not focused on men. While progress has been made, many films still revolve around male stories and perspectives.
How do we analyze a film
The document discusses analyzing films through examining their use of codes and conventions. It provides examples of conventional films that follow typical narrative structures and represent characters and relationships in predictable ways. Unconventional or "auteur" films are said to challenge conventions by subverting expectations around narratives, characters, and genre tropes. Examples given include Leon, Apocalypse Now, and Pulp Fiction, which break conventions through unconventional protagonists, editing techniques, and non-linear storytelling. Analyzing a film's adherence to or challenging of codes and conventions provides insight into the filmmaker's artistic choices.
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The document discusses Levi-Strauss' theory of binary opposites in narratives and how it can be applied to analyze different film genres. It also discusses Vladimir Propp's theory of archetypal character roles that frequently appear in stories, such as the hero, villain, helper, and princess. The document provides examples of common binary oppositions used in narratives and discusses how audiences identify with characters like the hero in order to engage with the story.
Narrative theory research
The document discusses several narrative theorists and their concepts for analyzing film narratives. It describes Claude Levi-Strauss's theory of binary opposites, such as good vs evil, that are commonly used in narratives. It also outlines Roland Barthes' concept of an "enigma code" used in opening sequences to engage audiences with questions. Additionally, it summarizes Vladimir Propp's identification of character archetypes like the hero, villain, and donor in folktales. Finally, it discusses Tzvetan Todorov's model of narrative equilibrium being disrupted and later restored.
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This document provides information on narrative structure and analysis for two American films from the same genre. It defines key terms like protagonist, antagonist, narrative, and story. It discusses Aristotle's and Todorov's theories of narrative structure. It also covers narrative devices, binary oppositions, Propp's character types, and how character motivations and conflicts drive narrative. The purpose is to equip students with tools to compare and critically analyze the narratives of two American films from the same genre for an exam.
Film narrative theory
This document discusses various concepts and theories related to narrative structure in films. It begins by defining narrative as "the way in which a story is told". It then discusses common linear narrative structures in Hollywood films and some films that break these conventions using non-linear narratives. Several theorists are discussed, including Levi-Strauss who analyzed how binary oppositions create meaning and propel narratives. Propp identified common character archetypes. Todorov outlined a conventional 5-stage narrative structure that can be simplified to 3 stages - beginning, middle, end. Barthes discussed narrative codes that engage audiences like enigma codes and action codes.
Ltb representation SECTION B
The document discusses the analysis of the film London to Brighton. It introduces Vladimir Propp's character theory of the seven spheres of action that characters can embody. These spheres are the hero, villain, donor, helper, princess, dispatcher, and false hero. The document then asks students to identify which characters in the film embody which spheres. It also provides questions for students to consider about the representation of genre, narrative elements, themes, and character analysis in the film.
Text Assignment A. Directions Respond to each question in comp.docx
Text Assignment: A.
Directions: Respond to each question in complete sentences.
1. What are the differences between narration and narrator?
2. What are the differences between omniscient and restricted narration?
3. What are the differences between (a) the camera narrator and (b) a first person narrator and a third person narrator?
4. Can a major character be flat? Can a minor character be round? Explain your answer.
5. What is the climax and how does it relate to the protagonist’s pursuit of the goal?
Text Assignment: B. Ch. 4
6. How (and why) do we distinguish between the story and the plot of a movie?
7. What is the diegesis of a story? What is the difference between diegesis and
non diegetic elements in the plot?
8. What effect does the major and minor events have on the movie‘s plot?
9. Which of the following have the most common relationship between screen duration and story duration: Summary relationship, real time, or stretch time relationship? Define each one.
10. What is the difference between suspense and surprise? Which one is more difficult for a filmmaker to create?
Directions:
Respond to the question in paragraph form.
A good story may have IRONY. Irony is a type of expression, which involves opposites or reversals. Irony frequently includes relationships of words or actions. There are three kinds of irony (1) Verbal Irony: implication of a meaning opposite to a direct statement. (2) Irony of Situation: the reversal of events, the backfiring of events, or the canceling of one action or detail by another. These reversals maybe forces beyond the control of the characters, to the actions and mistakes of peoples. (3) Irony of character is reversals the expected patterns of behavior in characters.
In the film “Men of Honor”, identify ONE character, which embodies strong opposites or contradictions when their actions involve sharp reversals in expected patterns of behavior. Give two examples from the story to support your answer.
Text Assignment: A.
Directions: Respond to each question in complete sentences.
1. What are the differences between narration and narrator?
2. What are the differences between omniscient and restricted narration?
3. What are the differences between (a) the camera narrator and (b) a first person narrator and a third person narrator?
4. Can a major character be flat? Can a minor character be round? Explain your answer.
5. What is the climax and how does it relate to the protagonist’s pursuit of the goal?
Text Assignment: B. Ch. 4
6. How (and why) do we distinguish between the story and the plot of a movie?
7. What is the diegesis of a story? What is the difference between diegesis and
non diegetic elements in the plot?
8. What effect does the major and minor events have on the movie‘s plot?
9. Which of the following have the most common relationship between screen duration and story duration: Summary relationship, real time, or stretch ...
Stereotype countertype lesson
The document discusses stereotypes in TV drama and how they have changed over time. Stereotypes are often used as shorthand for stock characters but some now seem inappropriate or awkward. For example, minorities like homosexuals and ethnic groups were depicted in ways that would not be tolerated today. The document also examines stereotypical characteristics assigned to different sexes and whether those stereotypes are still relevant. It considers whether stereotypes simplify, exaggerate or generalize groups and if this matters. The implications of stereotypes, both positive and negative, are discussed.
Task 1 - Narrative
This document provides an overview of key concepts related to narrative structure in films. It discusses common plot structures like three-act structure, Todorov's five stages, and Campbell's hero's journey monomyth. It also covers elements like characters, character functions, and binary opposites. The document examines how different structures and techniques are used to construct narratives and stories in film.
Narrative research task new
Sam is bullied by George. In revenge, Sam's brother and friends take George on a boat ride but things go wrong and George ends up drowning. They bury the body but later feel guilty and confess. George's video camera reveals what happened. The document discusses several narrative theories and how they apply to the film Mean Creek, such as Todorov's stages of narrative and Levi-Strauss's concept of binary oppositions between right and wrong. It analyzes how the film uses different narrative codes and elements from these theories.
Narrative theories a2
This document summarizes several narrative theories that could inform the creation of a short film. It discusses:
- Propp's character roles of villain, hero, and helper that will be applied to the virus, Ryan, and Jane.
- Todorov's concept of equilibrium, disequilibrium, and new equilibrium, though a new equilibrium will not be established.
- Barthes' idea of enigma codes that will challenge sophisticated viewers.
- Levi-Strauss's binary oppositions of natural vs unnatural and good vs evil that will be themes.
- Field's three-act structure will not fully apply due to the short length.
- Kubrick's idea of seven
Narrative theory
This document discusses several narrative theorists and their contributions. Vladimir Propp analyzed character roles in stories and identified common roles like the hero, villain, and donor. Tzvetan Todorov suggested most narratives follow a pattern of equilibrium, disruption of equilibrium by an outside force, and restoration of a new equilibrium. Roland Barthes proposed that narratives use five codes - action, enigma, symbolic, semantic, and cultural - to engage the reader. Finally, Claude Levi-Strauss examined how stories unconsciously reflect cultural values through symbolic binary oppositions like good vs evil.
GCSE Media Action Adventure Lesson 4 - NICS
This document discusses concepts related to analyzing narratives in film, including:
1) Tzvetan Todorov's 5-stage narrative structure model and Vladimir Propp's 7 spheres of action which provide typical character types found in narratives.
2) The concept of binary opposites in narratives, such as heroes and villains, and how they are contrasted through qualities like good vs. evil, youth vs. age, and masculinity vs. femininity.
3) Examples of binary hero/villain pairs from action adventure films like The Mummy, Spiderman 2, and Pirates of the Caribbean are given to illustrate applying these concepts.
Characters in tv_drama
Characters are crucial to TV dramas as they drive the narrative and audiences identify with the lead characters. Most teen dramas focus on adolescent concerns like relationships and individuality. Although characters seem real, they are constructed to play roles that often polarize them as "good" or "bad" to structure conflict and character development. This binary opposition is commonly used to set up conflicts that get resolved when good triumphs over bad. Audiences sympathize with some characters and are positioned against others to shape their attitudes and values through involvement with fictional narratives.
Film theorists
This document summarizes several film theorists and their theories:
- Roland Barthes proposed that pleasure comes from repetition with difference in genres and manipulating genre conventions.
- Steven Neale believed meaning depends on understanding binaries like young/old and good/bad.
- Tzvetan Todorov said narratives follow five stages: equilibrium, disruption, recognition, attempt to repair, new equilibrium.
- Vladimir Propp argued narratives use character archetypes like hero, villain, and mentor.
- The document discusses applying these theories to the romantic comedy genre.
Genre & narrative structure research
1) The document discusses several theories of narrative structure, including Todorov's theory of a beginning, middle, and end with a disruption and resolution of equilibrium. It analyzes how The Blair Witch Project breaks conventions by starting in a state of already disrupted equilibrium.
2) It also discusses Levi-Strauss' theory of binary opposites like good vs evil and light vs dark that help audiences recognize characters. Cloverfield is used as an example showing the good party scene with soft light vs the dark ominous explosion.
3) Finally, it discusses Propp's theory that narratives require certain character archetypes like heroes, villains, and princesses to provide narrative structure and make sense for audiences
Representation status v sympathy
The document introduces concepts for analyzing representations, status, and stereotypes in a video clip. It provides a grid with categories like status, sympathy, and representation to structure the analysis. Students should be able to use the simple grid but also analyze beyond the obvious. The examiners report that candidates were generally able to discuss differences in status and how the audience is positioned, and stronger candidates commented on how the clip may challenge typical representations.
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Text Assignment A. Directions Respond to each question in comp.docx
Text Assignment A. Directions Respond to each question in comp.docx
More from Jersey College for Girls
Media Language
The document provides guidance on evaluating media language in coursework by analyzing how it communicates key concepts. It instructs the reader to select four examples each of camera shots, editing sequences, sound, and mise-en-scene from their coursework text. They should describe the media language and evaluate how it communicates concepts like genre, narrative, audience, and representation using relevant media theorists like Todorov, Neale, de Saussure, and Katz. Preparing in this way allows for a thorough evaluation of how media language shapes other elements of the text.
Genre
This document discusses genre theory, focusing on the work of theorists Steve Neale and Rick Altman. Neale argues that genres rely on repetition of conventions to attract audiences but also require some difference to remain interesting. Altman proposes a three-stage approach to genre that examines the semantic conventions, syntactic structure and narrative, and pragmatic institutional and audience factors involved in genre. The document uses examples of horror and romantic comedy films to illustrate key aspects of genre theory.
Representation slideshare
The document discusses representation and stereotypes in media texts. It summarizes Richard Dyer's theory that stereotypes reduce the complexity of groups to a few exaggerated characteristics that are then applied to all group members. These characteristics are communicated through media language. The document also discusses whether those in power still stereotype minority groups, the benefits of stereotypes as media shorthand, and how representations and stereotypes are communicated to audiences semiotically through signs and systems of meaning that take into account audience ideology.
Audience
The document discusses several theories of how audiences interact with and interpret media texts:
- The Effects Model/Hypodermic Theory suggests audiences passively receive media messages without challenge.
- Uses and Gratification Model proposes audiences actively use media to fulfill needs like diversion, relationships, identity.
- Reception Theory by Stuart Hall argues producers encode messages but audiences can decode them differently - as the producer intended (dominant), by negotiating elements, or oppositionally rejecting the meaning.
G322 Review
This document provides information and guidance for students taking an exam on television drama representations. It includes:
1) Examples of representations that could be analyzed such as gender, ethnicity, and social class from past exam questions on various TV shows.
2) An overview of common television drama genres and technical codes to analyze like mise-en-scene, camerawork, editing techniques, sound, and semiotics.
3) Tips for studying including taking structured notes, understanding media language, selecting relevant examples from the text, and writing concisely and readably within the time limit.
G325 Section 1 A introduction
The document outlines the structure and requirements of an exam for a media production course. It is divided into two sections over two hours. Section A requires students to describe and evaluate their skills development over the course of the production work. It also asks students to identify one production and evaluate it in relation to one theoretical concept. Section B covers contemporary media issues. Students must discuss all coursework produced over the two-year course. The document provides examples of preliminary and ancillary tasks students would have completed. It also lists practices that exam questions will relate to and directs students to a website for research and planning requirements. Students are instructed to make a list using evaluative criteria and note jobs they completed for skills auditing purposes. Deadlines
Digipack exemplar
Digipack allows users to easily import blog posts and other documents directly into iMovie for video editing and production. It offers features that let documentary filmmakers continuously add to video projects as they conduct research and reporting. Digipack streamlines the process of converting written work into video documentaries.
Future of the internet
The document discusses predictions about the future development of the World Wide Web (Web 3.0). Many experts believe that the Web will become more personalized and act like a personal assistant that learns a user's interests from search and browsing history. The browser will be able to answer complicated questions and provide tailored recommendations. It will continue to learn more about individual users over time in order to provide more specific and relevant information and suggestions.
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Narrative Revision
- 1. Narrative Todorov Four main stages to a complete narrative.
- 2. Narrative Narrative and Story What is the difference? Story is the chronological order of events in your film. Narrative is your choice in the way these are presented.
- 4. Narrative Can these stages be identified in your film? Can the standard order be identified? How does the audience engage with each stage?
- 5. Narrative Levi-Strauss Binary Opposites Theorised that it is the resolution of the conflict between these that creates a Narrative.
- 6. Batman Joker
- 7. Batman Bane
- 8. Two Face / Harvey Dent
- 10. Narrative Identify binary opposites in your coursework. How did these affect the audience's engagement with the film? Did the binary opposites create the narrative or could you evaluate the theory's application to your film?
- 11. Narrative Propp Morphology of the folk tale Characters and functions 7 characters and 31 functions
- 12. Narrative Propp Morphology of the folk tale Characters and functions 7 characters and 31 functions
- 14. Narrative Not types of person, but patterns of behaviour. One character can move between the 'spheres'
- 15. Narrative Can you identify any of the spheres in your coursework? Do these assist with your audience's engagement with the film?
- 16. Narrative Level 4 (21–25 marks) Candidates demonstrate a clear understanding of narrative and relevant media theory and can relate concepts articulately to the production outcome, describing specific elements in relation to theoretical ideas about how media texts are constructed as narratives. Candidates offer a range of specific, relevant, interesting and clear examples of how their product can be understood in relation to relevant theories of narrative. The use of conceptual language is excellent. . Complex issues have been expressed clearly and fluently using a style of writing appropriate to the complex subject matter. Sentences and paragraphs, consistently relevant, have been well structured, using appropriate technical terminology. There may be few, if any, errors of spelling, punctuation and grammar.