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A2 Media Studies Narrative Theory in Brief

Narrative Theory in Brief

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Narrative Theory

A2 Media StudiesNarrative Theoryin Brief

A2 Media StudiesNarrativeThe way in which a story is told in both fictional and non- fictional media texts

A2 Media StudiesThere are 4 main theories byTzvetanTodorovVladimir ProppRoland BarthesClaude Levi-Strauss

A2 Media StudiesTzvetan TodorovBulgarian literary theorist born in 1939

A2 Media StudiesSuggests most narratives start with a state of EQUILIBRIUM in which life is normal and the protagonists are happy.Todorov

A2 Media StudiesThis state of normality is DISRUPTED by an outside force which has to be fought against in order to return to a state of equilibriumTodorov

A2 Media StudiesThis model can be applied to a wide range of films and TV programmesTodorovequilibrium

disequilibrium

new equilibrium

A2 Media StudiesIn a horror film, the equilibrium would be that everything is running smoothly, the disequilibrium would be that there has been a murder and an investigation is needed, and the final equilibrium would be that they find the murderer and put them in prison. There can be a number of moments in the plot where the resolution of equilibrium takes place, like this example, when pieces of a detective puzzle falls into place.

This theory can be seen as circular and can be repeated over and over again, as it does in a number of films; there isn't an end to it.

The theory is used in hundreds of films and television series and helps us to predict the plot outline before we have even seen the film!Todorov

A2 Media StudiesTodorov refined his theory into five stages.

Todorov1. Initial equilibrium2. Disruption of equilibrium by some action3. Recognition of the disruption4. An attempt to reinstate the equilibrium5. A return to a new equilibrium

A2 Media StudiesTodorov

A2 Media StudiesClaude Levi-StraussFrench social anthropologist1908 - 2009

A2 Media StudiesStudied hundreds of myths and legends all around the world, and found out that we, as humans, make sense of the world, people and events by seeing and using binary opposites.

Levi-Strauss

A2 Media StudiesSo he proposed that narratives are arranged around the conflict of binary opposites.

The opposites clash in the narrative making it more exciting/interesting.

Levi-Strauss

A2 Media StudiesAn example would be GOOD versus EVIL we understand the concept of good as being the opposite of evil

He was not so interested in the order of events in the plot but looked instead for deeper arrangements of themes.

Levi-Strauss

A2 Media StudiesBinary OppositesLevi-Straussgood v evil, black v white, boy v girl, peace v war, civilised v savage,democracy v dictatorship, first world v third world,domestic v foreign/alien, articulate v inarticulate , young v old, man v nature,protagonist v antagonist, action v inaction, motivator v observer, empowered v victim , man v woman,good looking v ugly, strong v weak, decisive v indecisive, east v west,Humanity v technology,ignorance v wisdom

A2 Media StudiesIn summary the Levi-Strauss theory is that conflict is based around binary opposites and that the binary opposites are the central climax of the narrative structure.

Levi-Strauss

A2 Media StudiesDominant ideology is the set of common values and beliefs shared by most people in a given society, framing how the majority think about a range of topics.

Levi-Strauss

A2 Media StudiesA challenge to the dominant ideology, establishing a clash of binary opposites, will often be the main theme of a narrative.Levi-Strauss

A2 Media StudiesRoland BarthesFrench literary theorist& semiotician1915 -1980

A2 Media StudiesBarthes theories revolve around fivenarrative codes, suggesting that there will always be one or more of the five codes that will unlock the meaning of the text.Barthes

A2 Media StudiesBarthes said that a text may be OPENi.e. able to be interpreted in different ways (have more than one meaning) or CLOSED, have just one obvious meaning.Barthes

A2 Media StudiesA text is like a tangled ball of threads that needs unravelling Once unravelled, we might encounter a wide range of potential meanings. We can start by looking at a narrative in one way, from one point of view, depending on our previous experience, and so create one meaning for the text. We can continue to unravel (interpret) the narrative from a different angle and create an entirely different meaning. Barthes

A2 Media StudiesBarthes Codes

Enigma Code Action CodeSemantic CodeSymbolic codeReferential codeBarthes

A2 Media StudiesBarthes Codes

Enigma Code Action CodeSemantic CodeSymbolic codeReferential codeBarthesMost texts will employ a few, if not all of these codes

A2 Media StudiesEnigma Code

The text has a mystery. Clues are dropped but there are no clear answers. An enigma in the narrative makes the audience want to know more.

Unanswered enigmas tend to frustrate the audience.

Also called an Hermeneutic code (herminutik)Barthes

A2 Media StudiesEnigma or hermeneutic Code

BarthesAHermeneutic Codeis something that is unexplained and which creates an unanswered question, often appearing at the beginning of the story, thus creating atensionthat engages the audience.

Hermeneutic codes are at the root of all mysteries.

A coherent story will eventually explain and hence tie up all these loose ends.

A2 Media StudiesHermeneutic Code

BarthesExamples:

A person vanishes into thin air for no apparent reason.

A hero appears to be killed.

Most detectives stories are built almost entirely on hermeneutic codes.

A2 Media StudiesAction Code

The text has sequential elements of action. Stuff happens.

This action leads to suspense. What will happen next.

Also called a Proairetic code. Barthes

A2 Media StudiesAction or proairetic Code

BarthesA Proairetic Code is a plot action that does not directly raise particular questions - it is simply an action that is caused by a previous event and which leads to other events. It is not inherently mysterious.

Example:

A person walks down the street. A tile falls off the roof of a building

A2 Media StudiesSemantic Code

A part of the text which suggests additional meaning.

Connotations are suggested by the context and story in addition to the literal (denotative) meaning.

Barthes

A2 Media StudiesSymbolic Code

Symbolism within the text gives it a deeper meaning and can be used to create tension, drama and character development.

Barthes

A2 Media StudiesReferential Code

This code refers to anything in the text which refers to an external body of knowlegde such as scientific, historical and cultural knowledge.

Sometimes called the Cultural Code.Barthes

A2 Media StudiesThe hermeneutic and proairetic codes are the two ways of creating suspense in a narrative. The first caused by unanswered questions the second by anticipation of an actions resolution

Barthes

A2 Media StudiesVladimir ProppSoviet folklorist1895-1970

A2 Media StudiesPropps study of Russian fairytales led him to isolate 7 character types and numerous functions of narrative. Propp

A2 Media Studies7 character types

The hero protagonist (seeks something)The dispatcher (makes the problem known and sends the hero on his way)The donor (helps the hero or gives him a magic object)The villain antagonist (struggles against the hero)The helper (gives support to the hero in his efforts)The princess (the reward for the hero, but also often needs to be protected from the villain)The false hero (initially seems good but emerges as evil)

Propp

A2 Media StudiesNarrative functions

The functions are categorised into 6 groups. Always in this order but not necessarily all present in every narrative.

Preparationthe introductionComplicationthe key or clues to the story Transferencethe donor eventsStrugglesorting out all the complicationsReturnback home but still some complicationsRecognitionall loose ends tied up

Propp

A2 Media StudiesPreparation

The hero leaves homeThe hero is tested, attacked, interrogated and, as a result, receives either a magical agent or a helperThe hero reacts to the actions of the future donorThe hero uses the magical agentThe hero is transferred to the general location of the object of his mission or quest

Propp

A2 Media StudiesComplication

The villain harms a member of the familyA member of the family lacks or desires somethingThis lack or misfortune is made known; the hero is given a request or command, and he goes or is sent on a mission or questThe seeker (often the hero) plans action against the villain

Propp

A2 Media StudiesTransference

The hero leaves homeThe hero is tested, attacked, interrogated, and, as a result, receives either a magical agent or a helperThe hero reacts to the actions of the future donorThe hero uses the magical agentThe hero is transferred to the general location of the object of his mission or quest

Propp

A2 Media StudiesStruggle

The hero and villain join in direct combatThe hero is woundedThe villain is defeatedThe initial misfortune or lack is set right mission completed

Propp

A2 Media StudiesReturn

The hero returnsThe hero is pursuedThe hero is rescued from pursuitThe hero arrives home or elsewhere and is not recognisedA false hero makes false claimsA difficult task is set for the heroThe task is accomplished

Propp

A2 Media StudiesRecognition

The hero is recognisedThe false hero/villain is exposedThe false hero is transformedThe villain is punishedThe hero is married and crowned.

Propp

A2 Media StudiesNarratve

Propp

A2 Media StudiesThe End