This document discusses several narrative theorists and their perspectives on narrative structure. It describes Roland Barthes' five narrative codes that are merged into any narrative: the hermeneutic code, proairetic code, semantic code, symbolic code, and referential code. It also summarizes Tzvetan Todorov's view that narratives follow a five-part structure of equilibrium, disruption, recognition, attempt to repair, and reinstatement of equilibrium. Finally, it outlines several theorists' perspectives on character types and modular narrative structures.

1. Narrative Theory
Sophie Purchon

2. Roland Barthes
Narrative Codes
• Barthes introduced 5 codes which are merged into any narrative.
• The Hermeneutic/Enigma code = This code refers to the hidden
meaning within the text, clues are given but there is no clear indication
to what is happening. Enigmas in the narrative make the audience want
to know more, which can frustrate them.
• The Proairetic/Action Code = Is a code where an action that happens in
the text which does not raise questioning, however, leads on to an other
action and could cause element which adds suspense to the text.
• The Semantic Code = This code states the connotation in the text that
gives extra information over the basic meaning and adding an additional
layer.
• The Symbolic Code = This code is very similar to the semantic code, it
the symbolism within the text and it exercises opposites to show
contrast and creates greater meaning.
• The Referential Code = Is a code which refers to anything in the text
which relates to outside knowledge, such as scientific, historical and
cultural knowledge.

3. Tzvetan Todorov
Russian theorist, Tzvetan Todorov suggests that
all narratives follow a five part structure.
It starts off with equilibrium, where everything is
balanced, then something comes along to
disrupt that equilibrium with an action, a
recognition of the disruption then occurs. Then
there is an attempt to repair the disruption and
finally a reinstatement of the equilibrium
happens.
This type of narrative structure is very common
to us and can be applied to many ‘mainstream’
film narratives.

4. Allan Cameron
Cameron has identified four different types of modular narrative:
• Anachronic
This modular narrative involves the use of flashbacks and/or flash-forwards, with no clear
authority between any of the narrative threads. These narratives also often repeat scenes
directly or via a different perspective. An example being Pulp Fiction.
• Forking Paths
Forking-path narratives juxtapose alternative versions of a story, showing the possible
outcomes that might result from small changes in a single event or group of events. The
forking-path narrative introduces a number of plotlines that usually contradict one another.
Examples include Groundhog Day and Run Lola Run.
• Episodic
This narrative is organised as an abstract series or narrative anthology. Abstract series type of
modular narrative is characterized by the operation of a non- narrative formal system which
appears to dictate (or at least overlay) the organization of narrative elements such as a
sequence of numbers or the alphabet. Anthology consists of a series of shorter tales which are
apparently disconnected but share a random similarity, such as all ‘episodes’ being survivors of
a shipwreck.
• Split Screens
Split screen narratives are different from the other types of modular narrative discussed here,
because their modularity is articulated along spatial rather than temporal lines. These films
divide the screen into two or more frames, juxtaposing events within the same visual field, in a
sustained fashion.

5. Claude Levi-Strauss
Claude Levi Strauss theory is that the conflict is based around the binary opposites and that the
binary opposites are the central climax of a narrative structure.
Examples of Binary Opposition:
Good vs Evil,
Black vs White,
Boy vs Girl,
Peace vs War,
Civilised vs Savage,
Democracy vs Dictatorship,
Domestic vs foreign/alien,
Articulate vs inarticulate ,
Young vs Old,
Man vs Nature,
Protagonist vs antagonist,
Motivator vs observer,
Empowered vs victim ,
Man vs Woman,
Good looking vs Ugly,
Strong vs weak,
Decisive vs indecisive,
Ignorance vs wisdom

6. Vladimir Propp
Vladimir Propp suggested that characters took on the role of narrative
functions. From a comprehensive study of stories, Propp came up with
seven different character types:
• The hero (who is usually male, he is the agent who restores the
narrative equilibrium often by boarding upon a quest.)
• The villain (who usually creates the narrative disruption.)
• The donor (gives the hero something, it may be an object,
information or advice, which helps in resolution of the narrative.)
• The helper (aids the hero in the task of restoring equilibrium.)
• The princess/victim (is usually the character most threatened by the
villain and has to be saved, at the climax, by the hero.)
• The dispatcher (sends the hero on her or his task, who can typically
be the princess father)
• The false hero (appears to be good at first but is revealed at the
end)
Characters can also fulfil more than one character type, for example; a
princess may also be a helper.