TODOROV’S THEORY OF NARRATIVE

• Tzvetan Todorov Introduces the idea of a ‘classic’ narrative which writers and directors conform to even today. In simpler terms meaning all stories have a beginning, middle and an end.

• For a story to be successful it must consist of:• A state of equilibrium: when there is balance and

harmony. • A moment of disequilibrium: the equilibrium is

disrupted and a string of negative occurrence begin.• A period of disequilibrium: constant problems and

struggles that the protagonist has recognised and will attempt to restore the happiness.

• Attempt to establish the new equilibrium: usually the last scenes of a film where there is a big finish between the protagonist and antagonist (e.g. a hero fights the villain).

• Return to a new equilibrium: a new start for the protagonist.

• Tzvetan Todorov also believed that no 2 equilibriums are the same as the characters would either have gained or lost something on their way towards the new equilibrium.

Vladimir Propp was a folklorist who introduced the idea that there is only 31 storylines which will always seem to repeat themselves.There are only a limited number of character types in texts and we can transpose these to film.

PROPP’S 7 CHARACTER TYPES

The Donor- The person that prepares the hero for their journey and give him/her a “magical object”.

The villain- Usually the antagonist and fights the hero (loses).

The False Hero- Pretends to be the hero (the jock boyfriend in a horror).

The Princess/Prize- The person which the hero marries and others sought after.

The Dispatcher- Picks the hero up and sends him off.

The Helper- Accompanies the hero on their quest.

The Hero/victim- reacts to the donor, fights villain and gets the prize.

Claude Levi Strauss explained that a constant creation of conflict/opposition propel narrative. The narrative can only end on a resolution of conflict.

STRAUSS’ BINARY OPPOSITES

Opposition can be conceptualLove Vs. HateControl Vs. Panic

Opposition can be visualLight Vs. DarknessMovement Vs. Stillness

Roland Gerard Barthes wrote a book which had 2 sections. Plaisir and Jouissance (French for ‘pleasure’ and ‘orgasm’), explained the idea that the audiences can often guess what is going to happen in most mainstream films and seeing this play our is the pleasure they get from the text. An example of this would be, knowing that there will be an explosion in a ‘Bruce Willis’ film or a character surviving at the end of a horror film. It also explains that there is another layer of pleasure on top if the unexpected happens, if there is an enigma code.

BARTHES’ PLEASURE OF TEXT

The enigma code is the use and set up of texts whether it is televised, on posters or films. They are done to ask questions and grab the audience’s attention and make them question the text. For example, There wasn’t a solid reveal of the villain in ‘Saw’ until the next film.

Sigmund Freud was concerned with how the mind subconscious work. He believed that it was structured into 3 parts, the ID, EGO and SUPEREGO.

FREUD’S PSYCHOANALYSIS THEORY

ID: The Pleasure principle- the most irrational and emotional part of the mind. If the ID is too strong, the person is uncaring and seeks self gratification.

EGO: The Reality principle- the rational part of the mind. If the EGO is too strong, the person is extremely rational and efficient but can be cold and distant from others.

SUPEREGO: The value principle- The morality of the mind. Someone who seeks perfection and may grow into a insufferably saintly personality, are those with too much SUPEREGO.

Carol Clover wrote a book called ‘Men, Women and Chainsaws’. In the book she argues that the audience are structurally forced into identifying with the resourceful surviving female, therefore making the audience masochistic voyeurs. The theory she had helped create awareness of gender division in films and that is now called the ‘Final Girl’ theory.

CLOVER’S FINAL GIRL THEORY

Some characteristics of a ‘Final Girl’ are:•Unisex name and wears light/white or unattractive more masculine clothing.•Becomes masculine in final altercation with the villain by ‘phallic appropriation’ by taking hold of a weapon (e.g. knife).•Usually a virgin or sexually unavailable as the price to pay for beauty or sexual availability is death.