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.

1. Narrative Theory

2. Todorov’s Narrative Structure
He suggested that conventional narratives are structured
in five stages:
• Equilibrium
• Disruption of the equilibrium
• Recognition of the disruption
• An attempt to repair the damage caused by the
disruption
• New equilibrium
This theory can be applied to psychological thrillers even
though it may not always be seen in the most
conventional ways. For example in Black Swan the 5
stages are not as easy to see due to the confusing nature
of the film.

3. Todorov’s Narrative Structure
In Gone we can see Todorov’s theory:
Equilibrium - At the beginning we see Jill, the main
character, living a normal life as a waitress.
Disruption – Jill discovering her sister is missing.
Recognition – Jill going to the police station and
getting a detective on the case.
Attempt to repair – The main plot of the film
involving Jill trying to find her sister’s kidnapper.
New equilibrium – Jill killing the kidnapper and
returning home with her sister.

4. Propp’s Character Types
Propp studied 100 folktales and lore and found they
contained 8 character types which are:
• Hero (protagonist)
• Villain (antagonist)
• Donor
• Helper
• Princess
• Princess’ Father
• Dispatcher
• False Hero
Not all films have to have all of these characters.

5. Propp’s Character Types
He also found there to be 31 functions in a
narrative which includes:
• The hero is prohibited from doing something
• The villain learns something about the victim
• The villain is punished, etc.

6. Propp’s Character Types
Again in Gone we can see the typical character types but
not all of them.
Hero – Jill
Villain – Jim LaPointe, the kidnapper
Donor – Nick, who gives Jill information to who the
kidnapper is.
Helper - Det. Peter Hood, the detective who helps Jill as
he believes her.
The other character types are not seen in this film but
they are not always needed to complete the narrative.
One of the functions we see completed in the film is the
villain being punished (when Jill kills LaPointe).

7. Levi-Strauss’ Binary Oppositions
Levi-Strauss suggested that binary oppositions
are key to the meaning making in narrative – he
argued the constant creation of conflict and
opposition propels narrative, and that narrative
can only end on a resolution of conflict. As the
audience we always judge on half of the binary
oppositions in a more negative way therefore
the meaning of the binaries are ideological as
they are culturally constructed.

8. Levi-Strauss’ Binary Oppositions
Examples of binary oppositions include:
• Good/Evil
• Men/Women
• Truth/Lies
• Normal/Abnormal
• Strong/Weak
• Light/Dark
• Young/Old
• Natural/Artificial
• Sane/Insane
Sane and insane are oppositions that are constantly
explored in psychological thrillers.

9. Levi-Strauss’ Binary Oppositions
Gone uses light and dark a lot especially in the
lighting. This image shows us this as there is a clear
distinction between the light and dark. The hero of
the film is on the light side showing the audience
her good nature while the person with holding
information from her is on the dark side. This also
shows us the good and evil oppositions. The film
also uses truth and lies as many people hold back
information to help themselves when Jill just wants
to find the truth.

10. Barthe’s Enigma Code
Barthes' Enigma Code is a theory that suggests a
narrative portrays a mystery to draw an audience
in, pose questions and, as such, become intrigued
in the piece. It does this with five codes:
• The Hermeneutic Code (narrative not being fully
explained)
• The Proairetic Code (building tension)
• The Semantic Code (connotations in the story)
• The Symbolic Code (deeper meanings in the
story)
• The Cultural Code (what is already set in our
culture)

11. Barthe’s Enigma Code
In Se7en the Hermeneutic Code is used to create
mystery surrounding who the killer is. At the
beginning of the film the characters themselves
have very little information to who it is,
therefore the audience also don’t know. This
make the audience want to continue watching
to figure it out through the use of clues and
reveals like the use of fingerprints and library
records in the film.

12. Barthe’s Enigma Code
Insomnia also shows the enigma code but
through the use of the Proairetic Code. For
example within the film the main character,
Dormer, comes up with a plan to lure the
murderer back to the crime scene. Before we
actually get to see the plan happen the audience
is left to wonder whether it will actually work,
which builds up tension, and they stay to watch
and hope that it does work and when it doesn’t
they continue to watch to see how they will
eventually catch the killer.

13. Barthe’s Enigma Code
The film Frozen (2010) uses the Semantic Code
within it. At multiple points of the movie wolves
are seen. The audience would connote this with
danger and violence which builds up tension
around the parts where they are seen. Watchers
would see the animals and immediately think
something bad is going to happen, due to their
connotations, so they continue to watch with
intrigue. This also links in with the Symbolic
Code and the Cultural Code.