1. L/O: To understand the narrative theories of Todorov,
Barthes, Propp, Strauss
-to be able to apply theory to films in order to identify
and explain the theories
2.
3. Suggested there are 5stages of narrative: (with 3
major parts)
1. EQUILIBRIUM (or normality)
2. DISEQUILIBRIUM (conflict/disruption of
equilibrium by action or event
3. Recognition of DISEQUILIBRIUM (disruption/conflict)
4. Attempt to repair disequilibrium
5. NEW EQUILIBRIUM (new normality)
Simply, it is the equivalent to the classic structure of
beginning, middle, end.
4.
5. This disruption of the initial equilibrium motivates the
cause/effect chain of events that makes the plot of the
film. Stages 2, 3, 4 may be repeated many times over before we
reach the final stage of new equilibrium (end). Hence, the 'edge
of our seats' experience (anticipation) is maintained by the lack
of resolution. The full narrative structure establishes the
audience's pleasure and satisfaction that are achieved by the
resolution: 'happy ending'.
Often, the new equilibrium involves a new state of being, where
not only has order been RESTORED, but, some kind of learning
process or improvement to life has taken place.
In the case of franchise films (or trilogies), each film leaves the
audience with some 'unfinished' aspect of the plot in order to
prepare them for the sequel.
Different genres will present this 5 stage process differently,
occupying different typical disruptions and resolutions.
6. THINK OF DIFFERENT DISRUPTIONS/CONFLICTS
AND RESOLUTIONS FOR DIFFERENT GENRES:
Drama
Action
Horror
Sci-fi
Thriller
Complete this sheet
*When
complete,
take photo
using iPad
and put on
powerpoint
7.
8. Believed that our world is described in BINARY OPPOSITES. When
we look at themes within stories and real life we realise they
consist differences, contradictions and conflict or OPPOSITES.
◦ night/day
◦ good/bad
◦ dark/light
◦ male/female
We subconsciously recognize the essential conflict in relation to narrative
which familiarity in stories and films.
Strauss believes these oppositions are fundamental to our ability to make
meanings of our lives. For example, we only understand good when it is
opposed to evil.
He believed opposition offered structure to texts including
stories, plays, books and films. In other media:
◦ Washing powder adverts: before/after contrast and effect to convince
you to buy the product
◦ News reports: good/bad to present story simply
9. HERO VILLAIN
Good Evil
Native Outside
Love Hate
Handsome Ugly
One of the most obvious opposites in film is the opposition of hero/villain
12. There is a key problem with his theory (which
is clear in above examples)
Oppositions inevitably lead to a status of
hierarchy, one side has to 'win' the conflict,
which is tied to the structure of the
narrative.
Of course, the audience are expected to agree
and favour the winning 'side'.
This can create a dangerous 'norm' (example
ideology of white, handsome, big muscles,
strong, brave, male hero
13.
14. Similar to Todorov's theory, the audiences experience of
the narrative involves ANTICIPATION and EXPECTATION of
a resolution to disruption/conflict; Barthes theory of
codes encourage the audience to SEEK ANSWERS & CLUES
to make them anticipate outcomes.
Identified these by ‘codes’:
◦ Enigma Code
◦ Action Code
◦ Semantic Code
◦ Symbolic Code
◦ Cultural Code
15. Narratives set up as puzzles to be solved (ex content
of letter, what is in a box/briefcase, why is killer
killing a victim)
It is basically portraying a mystery and raising
questions as way to intrigue/draw in the audience
Can be applied to any text, a story, a poster, film etc.
These enigmas delay the ending/resolution to
maintain audience interest and anticipation
Answer to enigmas contribute to our enjoyment of
resolution (new equilibrium) (in mainstream films)
Sometimes enigmas left unresolved (often in less
mainstream films)
16. Usually thriller, mystery based in which the
question is “Who is the killer” and/or “Why are
they killing people”
Example:
“Saw”
Who is
responsible?
Why are
they there?
17. Codes of behaviour and actions that lead
audience us to expect certain consequences
(based on other stories/films and their
conventions)
18. THRILLER/MYSTERY SLASHER/HORROR ROMANCE
Action:
A) Killer/villain walks into room
with gun/weapon
B) Girl hiding from killer/villain
Action:
A) Going into dark alley or dark
stairwell/room alone
B) Being promiscuous or
flirty/suggestive
C) Virgin, good hearted female
Action:
Couple realise their actions and
acknowledge their mistakes to
each other
Assumption:
A) Victim(s) will get shot/hurt
B) Girl will get found/taken
Assumption:
A) Will get killed
B) Will get killed
C) Will live
Assumption:
They will kiss and make up
19. Connotative (connotation) meanings of
characters, objects, locations
We learn from experience about these
denotations & connotations
Iconographic features work in same way
20. Pretty Woman American Beauty Carrie
(Romance/Drama) (Drama) (Thriller/horror)
Red dress =
sexuality and love/passion
Roses = sexuality/sexual desire
Blood =
Murder and violence
22. Iconographic features have clear connotations
and meanings to audience
Spaceships & Aliens = sci-fi
23. Symbolic features often signify oppositions
and antitheses (savage/civilised, light/dark)
Ex. in Thelma & Louise = male repressive
world and female escape (this is
represented/expressed symbolically through
interiors/actions of male/female.....male =
dark, trapped, repressive, abusive......female
= light, free, airy, justice etc
24. Even after committed crime, have to
regrets and want to keep running, keep
committing crimes
Feeling positive and free after leaving
repressive marriages, are together and
Thelma saves Louise (free in sunshine)
Drive away in open space, drive forward
(running away), don’t look back
In convertible = open space (freedom)
Even when about to get caught, drive off
edge (to not be constricted in jail)
25. Louise’s husband is
unsuccessful, abusive
and controlling
The young man Louise
sleeps with seems
charming, but is a
criminal and a thief who
steals their money
The man Louise meets
in a bar is drunk,
creepy, abusive and
rapes her after she
refuses sex
Thelma’s
husband has a
good heart but
isn’t a man of
achievement or
success
The truck driver who drives beside
them when they are driving is a
lonesome and desperate man, is
restricted to be in a truck all day
and night
26. Outside of text and knowledge we commonly share to bring understanding
of the meaning in the text. Often references to things in popular culture and
historical events.
◦ Ex In modern adaption of 'Romeo & Juliet' there are a wide range of modern interpretations we
know as modern (were not in original story): guns, corporations, locations such as petrol stations,
setting in multicultural environment, drag queens, drugs, cars, lifts, etc
27. We use our these cultural references to ENHANCE our reading and
understanding of the text
Sometimes films are set and revolve around a particular (real) historical
event or era....our understanding of these time periods or events again
enhances our understanding.
◦ Example: Full Monty = set in a time which is dealing with a financial recession due to
decline in traditional British industries (Think of films that are set around the events
of 9/11 or other wars.
28.
29. Studied folklore, fairytales and legends in many
countries and noticed many similarities in them;
similar character types and same problems.
He formed 2 theories, the first is about 7
distinctive character types called 'Spheres of
Action'.
Because they are based on historic fairy tales and
folklore, this theory might seem very
recognizable and rather simplistic.
Just remember these stories are often children's
tales which need to be simplistic.
31. On quest/search
Traditionally male (not always) protagonist,
role is to restore disequilibrium (usually by
defeating the villain for winning love of
heroine (princess)
32. Opposes the hero (antihesis)
Cause of disruption
Often threat to safety of heroine
33. Starts hero on it's way (usually to restore the
disequilibrium)
Often father of heroine
He (or she) sends hero off so he can prove his
worth (often before winning love of heroine)
34. Helps hero by giving him 'magic' tool/gift to
help him on journey
The tool/gift may be advice, a skill or an
object such as weapon
35. Assists/helps hero in restoring
normality/equilibrium
Like a 'sidekick' (with for whole or part of
journey...can meet on way)
36. Often referred to as 'Princess' in traditional narratives
Usually female but not always
More passive and vulnerable character; threatened by
the villain and needing rescuing by the hero
Often in love (or ends up with hero)
37. Initially on side of hero but then turns against
or deceives him/her
Tempts hero away from quest
N/A
38. Brother of King Mufasa, uncle to Simba
Seems caring of Simba
Tempts him but really sets him up to be
killed (so he can be King)
39. Of course these character roles are manipulated and changed in films and texts (or
some not there at all) and others will use more updated/modern versions for
example different representation/actions of heroine to suit more modern contexts
which reflect the changing role of women in society.
Examples of Female Protagonists in Action genre:
Thelma & Louise (hero and heroines)
Alien franchise + Kill Bill (power is weakened by maternal instincts)
While these female characters are vulnerable, they at least have become more
dominant in terms of their role and importance to the plot rather than simply being a
prize to a male hero. They have their own weapons, fight scenes, so therefore the
Spheres of Action (character roles) have become more blurred.
