This document discusses several narrative theories and how they apply to teaser trailers. It explains Tzvetan Todorov's theory of narrative structure, which involves an initial equilibrium that is disrupted by an event causing disequilibrium, which is then resolved with a new equilibrium. It notes how teaser trailers show the initial equilibrium and disequilibrium stages. It also summarizes Roland Barthes' narrative codes, including the hermeneutic code involving mysteries and the proairetic code involving actions. Finally, it discusses Claude Levi-Strauss' theory of binary oppositions reflecting cultural values and how this can be seen in teaser trailers.

2. TZVETAN TODOROV
Todorov was a Bulgarian literary theorist, he suggested that most narratives start with
a state of equilibrium, in which the protagonist(s) of the film are living a
somewhat happy life or is in a state of peace.
This then “state of normality” is disrupted by an outside force, to which the
protagonist(s) has to go out of his way to find and solve the issue at hand. This
stage is known as a disequilibrium.
Usually the narrative will end with the protagonist(s) defeating the outside force and
returning the disequilibrium into a new equilibrium, usually one which is different
from the original.

3. HOW DOES TODOROV’S THEORY APPLY TO
TEASER TRAILERS?
Usually at the start of a teaser trailer you see a state of normality, what there life is
like at the start of the film, it be a number of things such as a character being in a
dead end job or them living a happy family life. This being the equilibrium stage of
the theory
This then quickly changes as a problem arrives and some sort of danger follows, this
can be shown in a number of ways, usually a bunch of clips montaged together
with loads of jump cuts shows different parts of the film in which a problem
arises. This can be closely related to the disequilibrium stages of the theory.
Finally, the new equilibrium stage of the narrative isn’t usually shown in the teaser
trailer, this is because the teaser trailer is supposed to get the audiences
attention and only show a little bit of the film, showing the new stage of
equilibrium would only spoil the storyline for aduience.

4. ROLAND BARTHES’ NARRATIVE THEORY
Roland Bathes believed that texts could have Open meanings (Many Meanings) or Closed
meanings (only have one meaning).
Roland Bathes also believed that all narratives share 5 structural features. Barthes then
does on to believe that each narrative will use there 5 structures and will “weave”
them together is different ways.
The hermeneutic code (HER) – The elements of a story that are not explained which are
left as mysteries for the reader (enigmas). An example of the hermeneutic code could
be a murder witnessed at the beginning of the text by the audience, the rest of the
narrative will then be devoted to finding out what happens. At the end of the story all
of the mystery of the murder will then be explained to the audience.
The Proairetic code (ACT) - The codes of actions. Any action initiated must be finished. This
is used to build suspense and interest. An example of this would be a protagonist
pulling a knife out to threat the antagonist, will to protagonist harm the antagonist or
will he end up being harmed himself?

5. BARTHES - CONTINUED
The Semantic Code (SEM) – The semantic code points out the fact that elements of
the text will suggest a particular or additional meaning (s)by way of connotation.
For example, the colour red may symbolize blood.
The symbolic Code (SYM) – The deeper structural principle that organises semantic
meaning. This are usually shown in the form of themes and binary oppositions.
Cultural or Referential Code (REF) – The idea that texts contain cultural elements that
are referenced throughout the text. This aspect in more depth suggests that the
cultural code points out our shared knowledge about the way the world works.
This can be broken down into physical, physiological, medical, psychological, and
historical.

6. BATHES’ THEORY – HOW DOES THIS APPLY TO
TEASER TRAILERS?
I Believe that The hermeneutic code can be seen throughout teaser trailers. These
can often be seen as events which happen but aren’t explained right away,
working as an enigma for the audience. This is evident as the purpose of a teaser
trailer is to tease the audience with small parts of the film that may be appealing,
grabbing the audiences attention.
A long with the hermeneutic code, the proairetic code can also be applied heavily to
teaser trailers. Actions scenes or scenes with key narrative points will be teased
to the audience throughout, creating suspense without know what the final
consequences will be. Thus creating and interesting and suspenseful content the
audience to enjoy.
Finally, I believe that aspects of the cultural code are evident in teaser trailers. These
codes will create references to the target audiences experiences which will make
the trailer much more interesting. This “links” that the target audience had to the
teaser trailer will create a personal connection which will only amplify their
interest.

7. CLAUDE LEVI-STRAUSS – HOW DOES THIS
THEORY APPLY TO TEASER TRAILERS
Levi-Strauss believed that stories unconsciously reflect values and beliefs of cultures . This
reflections are expressed in the form of binary oppositions, this can be heavily related
to film and media texts.
I actually picked up on this theory during my teaser trailer analysis, In the teaser trailer for
the film titanic the two protagonists are separated by there wealth, a prominent part
of social class in the early 1900’s. One character being represented as a rich lady and
one being represented as a poor man shows the two being opposites, but through the
trailer it shows them coming together, thus creating a narrative plot.
All in all this can work in different ways, for example good and evil could be fighting against
each other, this being a binary opposition, other potential oppositions could be light
and dark, Happiness and sadness, or even ethnic/racial groups.
This theory could play a prominent part in the narrative as gives the audience the idea to
how the story will play out, how people can break stereotypes and conform to them,
ultimately driving a unique narrative.

8. CONCLUSION
In conclusion I think that knowing about narrative theories will benefit my
construction of a teaser trailer massively, this is because it gives me the
knowledge to play certain aspects of mise en scene (such as two clothes
representing someone culture .eg. Symbolic code) or placing a soundtrack (such
as loud suspenseful music to represent danger, eg.Todorov theory disequilibrium
stage). Creating cultural links between the text and the audience will mean that I
will be able to make use of the symbolic code by letting the audience create
they’re own open representations, or making clear closed ideas. Applying these
narrative theories to my own teaser trailer should mean that I’ll be able to give
small hints to the narrative without spoiling the film, thus creating a great tease
for the audience to enjoy.