The document discusses various narrative theories from prominent theorists including Vladimir Propp, Tzvetan Todorov, Claude Levi Strauss, Roland Barthes, and Allan Cameron, highlighting the structure and functions of narratives in storytelling. It covers Propp's character functions and types, Todorov's five stages of narrative, Levi Strauss's binary oppositions, Barthes's narrative codes, and Cameron's modular narratives. The author reflects on how these theories will influence the planning and crafting of their short film, emphasizing their relevance in engaging audiences and creating compelling narratives.

1. Narrative Theory
Vladimir Propp, Tzvetan Todorov, Claude
Levi Strauss, Roland Barthes and Allan
Cameron
Propp Todorov Strauss Barthes Cameron

2. Narrative theory can be defined as the theory
behind the way in which a story is told in both
fiction and non-fiction media texts. It is linked
to audience theory, as a narrative is created
within a film to appeal to an audience. It must
entice an audience and keep them interested.

3. Vladimir Propp
Propp studied old Russian folk tales and found that all characters have a narrative function.
He came up with 31 functions of characters:
• Assentation – member of a home environment leaves, who will need saving by the hero
later.
• Interdiction – when there hero is warned not to take action.
• Violation of interdiction – the villain is introduced, usually by a bad entrance.
• Reconnaissance – the attempt to save the victim.
• Delivery – the villain retrieves important information about the victim.
• Trickery – the villain tries to trick the hero in order to keep them away.
• Complicity – Villain tricks the victim which leads to helping the villain unknowingly.
• Villainy or lack – villain takes advantage of another victim which leads them to being
blackmailed.
• Meditation – hero discovers the faults of the victim.
• Beginning counter-action – hero takes action by finding a way to rescue the victim.
• Departure – hero leaves on a journey to save the victim.
• First function of the donor – hero is put under pressure.
• Hero’s reaction – the first reaction to this pressure.
• Receipt of a magical agent – help of a magical agent.

4. • Guidance – hero is lead to the location of the victim.
• Struggle – the hero and the villain have the first battle.
• Branding – hero receives the mark.
• Victory – hero defeats the villain.
• Liquidation – the bad curse is resolved.
• Return – hero returns home.
• Pursuit – hero is now captured.
• Rescue – hero is rescued.
• Unrecognised arrival – hero arrives in an unrecognised location.
• Unfounded claims – a false hero is known as the first hero.
• Difficult task – the hero is set a difficult task.
• Solution – the task has a solution.
• Recognition – the hero’s acts are recognised.
• Exposure – the false hero is revealed.
• Transfiguration – the hero has transferred into something positive.
• Punishment – the villain is punished .
• Wedding – the hero has a celebratory wedding.

5. Propp also suggested that there are 7 main character types, which appear in most folk stories
(and it has now been found that it is the same for most modern day stories):
• The hero - this character may not necessarily be the main character, but the hero fights
against the villain and is often lead by the donor, or shares a tight bond with them.
• The villain – this character is the character that goes against the “stereotypical” hero.
They challenge the “good” in a film narrative.
• The donor/enabler – this character prepares the hero or gives the hero some magical
object. This character is often a fairy godmother, particularly in fairy tales.
• The helper – this character helps the hero on their quest. The helper may also be found in
a supporting role. The characteristic of a helper can include intelligence, determination
and courage.
• The princess – this character is sought for during the narrative, and is often the person
that the hero marries at the end of the narrative during the celebrations. The princess can
sometimes fall for the false hero, before realising her mistake and falling for the real hero.
• The false hero – this character is perceived as a good character in the beginning, but later
emerges as evil.
• The dispatcher – the character who sends the hero off on their quest. The dispatcher
often has an early role in the narrative. This may be a family member such as a mother or
father. It can also be the princess's father, who gives the hero a set of quests to be
completed before he gains the hand of the princess. The dispatcher may also be
combined with another role, for example the false hero who then trails along behind
(perhaps disguised as a helper).

6. Tzvetan Todorov
Todorov simplified the idea of narrative theory and suggested that
conventional narratives are structured using five main stages:
1) State of equilibrium
2) Disruption of equilibrium
3) Recognition by main characters of this disruption
4) Attempt to repair disruption
5) Reinstatement of equilibrium (this equilibrium is never identical
to the original state of equilibrium, as for equilibrium to be
restored, the character(s) must learn something; the characters
and/or situations are altered by the disruption.)
This theory suggests that narrative does not have a linear structure,
but more of a circular one, and events that happen drive the
equilibrium. It can be said that many mainstream narratives can be
fit to this structure.

7. Claude Levi Strauss
Claude Levi Strauss is the theorist behind binary
oppositions. He suggested that all narratives are
driven by the constant creation of conflict
between two polar opposites, and that the
conflict must always end in a resolution of conflict
(within film).
The opposites can be as simple as good vs evil,
although they don’t have to be – it could be light
and dark or fear and confidence, for instance.

8. Roland Barthes
Barthes came up with the theories of narrative codes,
including the hermeneutic code and the proairetic code,
aka enigma codes and action codes.
Action codes are anything that drives the action
forwards.
Enigma codes are things that make the audience ask
questions. These questions are slowly answered
throughout the narrative.
These codes don’t have to be obvious. Action codes
can be as simple as a particular soundtrack, and enigma
codes can be as simple as facial expressions.

9. Allan Cameron
Cameron has studied narratives within cinema in more recent years and
has come up with a theory of modular narratives. He said that “in the last
20 years, popular cinema has displayed a turn towards narrative complexity”,
essentially meaning that narratives within film are becoming more
complicated.
He identified four types of modular narrative:
• Anachronic – when there’s no clear dominance between any narrative
threads. It can include modified flashbacks and flashforwards.
• Forking path – when you get alternative versions of the story, within
the same narrative. It shows outcomes which might result from such
small changes. There may be a number of plot lines, which normally
contradict one another.
• Episodic – following a collection of stories which are joined by one
common theme.
• Split screen – spatial rather than temporal (we see two or more places
at the same time).

10. How Will I Use These Theories in my
Work?
All of these theories will have an impact upon how I plan and create
my short film later in the year.
Vladimir Propp’s theory has taught me about what sort of
characters I need in my narrative, and what roles they will play.
Tzvetan Todorov’s theory has shown me how different aspects of
narrative need to be included in a particular order for a narrative to
be comprehensive and successful. When planning my narrative, I
need to make sure that I include each stage of the five stages of
narrative. Claude Levi Strauss’s theory has given me the inspiration
to base my narrative around two binary opposites to continue to
drive my narrative forwards and keep my audience engaged.
Studying Roland Barthes’s theory has taught me how to include
subtle narrative codes effectively to contribute towards the main
message of my narrative. And finally, Allan Cameron’s theory has
shown me four different ways in which I can make my narrative
complex, to in keep with modern day films.

11. Personal Response
It is my belief that all of the theories within this
PowerPoint are both true, and relevant to my
research. Without these theories, it would be
difficult for film makers to create character,
produce a comprehensive narrative, drive a
narrative, depict a narrative, and keep up with
modern day techniques. All of these things are
key in captivating the audience’s interest, and
making them want to watch the film. This is
something I need to do when I create my short
film, and thus I will be taking these theories into
consideration.