Key narrative theorists

Izetan Todorov was a Bulgarian philosopher who looked at how the narrative in a film works, developing a theory in 1969

His theory suggested that stories begin with an equilibrium in which everything is balanced and the protagonist is perfectly happy

This is then disturbed by something with causes problems in the film and has to be fought or changed to bring a new equilibrium to the story

He suggested that conventional narratives are structured into 5 stages:

• A state of equilibrium

• A disruption

• A recognition that order has been disrupted

• An attempt to repair the damage caused by the disruption

• A new equilibrium

Todorov

This type of narrative structure is commonly seen throughout many films

For example: in The Hobbit, one of the main plots following this theory is that of Bilbo Baggins of Bag-End. We see Bilbo happily living out his life as a hobbit in the Shire (equilibrium) before being rudely interrupted by Gandalf arriving and trying to persuade him to leave his home, shortly followed by the arrival of 13 dwarves who take over his home and eat all of his food (disruption). Bilbo agrees to join them on their journey to kill the dragon Smaug and return their gold (recognition of disruption) as this is how he will be able to return to his quiet life (attempt to repair equilibrium). All of this is achieved and he is able to return to the Shire as a hero, able togrow old as a content hobbit (new equilibrium).

Claude Levi-Strauss was a French anthropologist who came up with the theory that narratives are constructed around binary opposites

He believed that in films, conflict is based around binary opposites, and the binary opposites are the centre of a narrative structure

For example; good vs. evil, black vs. white, male vs. female, night vs. day, dark vs. light, protagonist vs. antagonist, humanity vs. technology.

He argued that all narratives could be reduced down to basic binary opposites. However, whereas this may be true for most films, in one genre it seems to oppose it; in psychological thrillers the lines seem to be blurred as reality is often an aspect that is hard to distinguish. Something that may appear to be good often ends up being corrupt or distorted in some way.

Levi-Strauss

Roland Barthes was a semiologist, meaning he looked at how texts were put together. He believed media texts contained many meanings and ways to be unravelled and once unravelled we encounter a variety of ways to interpret the potential connotations of them

He said that a text may either be open or closed: an open text has many different meanings or interpretations, whereas a closed text only has one obvious way to look at it

He also thought that texts contained a combination of 5 different codes:

• Enigma/Hermaneutic code

• Action/Proairetic code

• Symbolic code

• Semantic code

• Cultural/Referential code

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Barthes

Enigma/Hermaneutic code: an element in the film that isn’t explained to the audience, acting as a mystery for the audience who want to know more. Clues may be given but no clear answer until the end or possibly at all.

Action/Proairetic code: action that moves the narrative along. Adds suspense to the text and a resolution may be produced through action.

Symbolic code: looks at symbolism within the text. Often portrays opposites to show contrast and create meaning, as well as creating suspense, tension and character development.

Semantic code: parts within the text that have an additional connotation to what the audience may first interpret it as.

Cultural/referential code: the text refers to additional knowledge that the audience has. The audience may recognise it as being part of a culture or something they recognise due to outside knowledge of the world.

Stanley Kubrick was an American film director who directed many famous films such as The Shining, A Clockwork Orange, Eyes Wide Shut, Full Metal Jacket and 2001: A Space Odyssey.

He believed, or realised, that all a film needs is 7 non-submersible units in order to engage the audience. These were parts of the film that created a strong enough impression on the viewer that they couldn’t ignore or forget it.

All the non-essential elements have been stripped away and the audience are left with a part that is so compelling that it is able keep them interested. When joined together these parts create a great narrative.

“I think the best plot is no apparent plot. I like a slow start, the start gets under the audience’s skin and involves them so that they can appreciate grace notes and soft tones and don’t have to be pounded over the head

with plot points and suspense hooks.”

Kubrick