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Narrative Theory
Claude Levi-Strauss (1958) 
● Levi-Strauss states that all stories within a narrative operate to 
certain clear binary opposites. For example Good vs. Evil and Rich 
vs. Poor. 
● Levi-Strauss ideas essentially come down to a complicated world 
that is reduced to a simple structure. For example things are only 
right and wrong, or good and bad never in between. 
● This theory can be applied to simple mise-en-scene conventions. 
For example the protagonist would be placed in white clothing 
and bright locations and the antagonist will be placed in a dark 
location and in black clothing etc.
Michael Shore (1984) 
Shores theory states that music videos are/can 
be any of these concepts: 
● Recycled (Borrowing styles from the past) 
● Surface without substance (The look is more important than the meaning) 
● Simulated Experiences 
● Information Overload 
● Image and style scavengers 
● Ambivalence 
● Vanity and the moment 
● Decadence 
● Immediate Gratification 
● IMage assaults 
● The death of content 
● Speed, power, girls and wealth 
● Classical storytelling motifs
Andrew Goodwin (1992) 
Goodwin argues that meaning can be created 
from the individual audio-viewer’s personal 
music taste to sophisticated intertextuality 
that uses multi-discursive phenomena of 
western culture. This means that we create 
meaning based on our own understanding of 
culture.
Tim O’Sullivan (1998) 
This theory argues that all media texts tell the audience 
some kind of story. Through careful mediation, texts offer 
a way of telling stories about ourselves, not necessarily as 
individuals but the stories reflect our culture and the 
current ideologies of a social group. Narrative theory 
shows us that what we experience when we consume a 
media text is an understanding of a particular set of 
conventions and that it is important for us to be aware of 
how these constructions are put together.
Kate Domaille (2001) 
Domaille states that every story ever created and every story that will ever 
be created can be fitted into one of 8 narrative types. Each narrative type 
has a source on which the original story is based on. These narrative types 
are: 
● Achilles 
The fatal flaw that leads to the destruction of previously flawless, or almost flawless person 
eg.Superman 
● Candide 
The indomitable hero who cannot be put down. eg. Rocky, James Bond etc. 
● Circe 
The chase, the spider and the fly, the innocent and the victim. eg. Smokey and the bandit.
Kate Domaille (2001) 
● Faust 
Selling your soul to the devil may bring riches but eventually your soul 
belongs to him. 
● Orpheus 
The loss of something personal, the gift that is taken away, the tragedy 
of loss or the journey which follows the loss. 
● Romeo and Juliet 
Simple love story. 
● Tristan and Iseult 
Love triangle, man loves women. Women may be taken or someone stops 
them from being together.
Boardwell and Thompson (1992)
Pam Cook (1985) 
Cook stated that standard Hollywood narrative structure 
should have: 
● Cause and effect within an overall trajectory of an 
enigma resolution 
● High degree of narrative closure 
● A fictional world that contains verisimilitude especially 
governed by spatial and temporal coherence
Todorov (1977)

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Theory - Narrative

  • 2. Claude Levi-Strauss (1958) ● Levi-Strauss states that all stories within a narrative operate to certain clear binary opposites. For example Good vs. Evil and Rich vs. Poor. ● Levi-Strauss ideas essentially come down to a complicated world that is reduced to a simple structure. For example things are only right and wrong, or good and bad never in between. ● This theory can be applied to simple mise-en-scene conventions. For example the protagonist would be placed in white clothing and bright locations and the antagonist will be placed in a dark location and in black clothing etc.
  • 3. Michael Shore (1984) Shores theory states that music videos are/can be any of these concepts: ● Recycled (Borrowing styles from the past) ● Surface without substance (The look is more important than the meaning) ● Simulated Experiences ● Information Overload ● Image and style scavengers ● Ambivalence ● Vanity and the moment ● Decadence ● Immediate Gratification ● IMage assaults ● The death of content ● Speed, power, girls and wealth ● Classical storytelling motifs
  • 4. Andrew Goodwin (1992) Goodwin argues that meaning can be created from the individual audio-viewer’s personal music taste to sophisticated intertextuality that uses multi-discursive phenomena of western culture. This means that we create meaning based on our own understanding of culture.
  • 5. Tim O’Sullivan (1998) This theory argues that all media texts tell the audience some kind of story. Through careful mediation, texts offer a way of telling stories about ourselves, not necessarily as individuals but the stories reflect our culture and the current ideologies of a social group. Narrative theory shows us that what we experience when we consume a media text is an understanding of a particular set of conventions and that it is important for us to be aware of how these constructions are put together.
  • 6. Kate Domaille (2001) Domaille states that every story ever created and every story that will ever be created can be fitted into one of 8 narrative types. Each narrative type has a source on which the original story is based on. These narrative types are: ● Achilles The fatal flaw that leads to the destruction of previously flawless, or almost flawless person eg.Superman ● Candide The indomitable hero who cannot be put down. eg. Rocky, James Bond etc. ● Circe The chase, the spider and the fly, the innocent and the victim. eg. Smokey and the bandit.
  • 7. Kate Domaille (2001) ● Faust Selling your soul to the devil may bring riches but eventually your soul belongs to him. ● Orpheus The loss of something personal, the gift that is taken away, the tragedy of loss or the journey which follows the loss. ● Romeo and Juliet Simple love story. ● Tristan and Iseult Love triangle, man loves women. Women may be taken or someone stops them from being together.
  • 9. Pam Cook (1985) Cook stated that standard Hollywood narrative structure should have: ● Cause and effect within an overall trajectory of an enigma resolution ● High degree of narrative closure ● A fictional world that contains verisimilitude especially governed by spatial and temporal coherence