1) Spiderman's love interest Mary Jane is initially freaked out when she discovers Peter is actually Spiderman. 2) During a fight with the Green Goblin, tension builds between Peter and his friend Harry. 3) In the end, Spiderman saves Mary Jane's life, and she falls back in love with him upon learning his secret identity.

1. Narrative

2. What is a narrative?
A spoken or written account of connected events; a story.
What are the types of story's?
Overcoming the monster- This type of story goes back through Beowulf to David and Goliath and surely a lot further than that. It's
the classic underdog story.
Rags to Riches- In literature: Charles Dickens and Cinderella. In the movies: Trading Places. In ads: Chrysler, which is rising from the
ashes of Detroit; and Johnny Walker, whose entire brand history is about a simple Scottish farmboy's rise to global prominence.
The Quest- A mission from point A to point B. The Lord of the Rings is the classic example.
journey and Return- A story about transformation through travel and homecoming. The Wizard of Oz and Where the Wild Things
are both journey-and-return stories.
Comedy- The flipside of tragedy, and the last of the great storytelling tropes, it's perhaps the hardest to do well but is hugely
popular in both popular art and advertising
Tragedy- From the Greeks through Shakespeare, these are stories of the dark side of humanity and the futile nature of human
experience.
Rebirth- A story of renewal. It's a Wonderful Life is a prime example from the movies.

3. Todorov’s theory
Tzvetan Todorov's narrative theory suggests that all narratives follow a three part
structure where they begin with equilibrium, where everything is balanced,
progress as something comes along to disrupt that equilibrium, and finally reach a
resolution, when equilibrium is restored.
Equilibrium a state in which opposing forces or influences are balanced.

4. Propp’s theory
Propp's narrative theory Edit. Vladimir Propp developed a character theory for studying media texts
and productions, which indicates that there were 7 broad character types in the 100 tales he
analysed, which could be applied to other media E.G. hero and the villain.
The villain: Locked in a constant struggle with the hero, often trying to harm princess.
The donor: Gives the hero an object or a piece of information that helps them prepare for what is to
come.
The helper: Assists the hero with their quest, often referred to as their 'sidekick'.
The princess: Needs assistance from the hero, usually because they are in some form of danger,
typically the princess is the victim within the narrative.
The dispatcher: Is the character who sends that hero on their mission or quest.
Hero: Reacts to the donor and saves the princess, often resulting in them falling in love with the
princess.
False hero: May appear good but has an ulterior motive, or attempts to take credit for the hero's
actions.

5. Barthes codes
The 5 codes:
• The hermeneutic code (HER.) refers to any element in a story that is not explained and, therefore,
exists as an enigma for the reader, raising questions that demand explication.
• The proairetic code (ACT.) refers to the other major structuring principle that builds interest or
suspense on the part of a reader or viewer. The proairetic code applies to any action that implies
a further narrative action.
• The semantic code (SEM.) points to any element in a text that suggests a particular, often
additional meaning by way of connotation.
• The symbolic code (SYM.) can be difficult to distinguish from the semantic code and Barthes is not
always clear on the distinction between these two codes; the easiest way to think of the symbolic
code is as a "deeper" structural principle that organizes semantic meanings, usually by way of
antitheses or by way of mediations between antithetical terms.
• The cultural code (REF.) designates any element in a narrative that refers "to a science or a body
of knowledge". In other words, the cultural codes tend to point to our shared knowledge about
the way the world works, including properties that we can designate as "physical, physiological,
medical, psychological, literary, historical, etc.". The "gnomic" code is one of the cultural codes
and refers to those cultural codes that are tied to clichés, proverbs, or popular sayings of various
sorts.

6. Todorov’s theory:
At the beginning Spiderman and his love are getting along but as the story goes on and she finds out he is Spiderman
she gets freaked out by it and avoids him. Then at the end Spiderman saves her life and she falls in love with him.
Propp’s theory:
Hero- Spiderman, Villain- green gobbling, donor- Spiderman's granddad, helper- Spiderman's best friend Harry
Osborn, princess- Mary Jane Watson, Dispatcher- Spiderman himself, False hero- Harry Osborn.
Barthes codes
The hermeneutic code: the fact peter hides that he is Spiderman and is saving lives leaves a lot of mystery and raises
a lot of questions.
The proairetic code: the fight between Spiderman and the green goblin built up tension between peter and Harry.
The semantic code: Spiderman's suit gives the audience that he wants to hide who he is and also wants the element
of surprise.
The cultural code: there are two different sides to Spiderman/ peter, a incredibly intelligent student but also a strong
hero that saves lives.
Spiderman