A Level Media: Narrative Theory

“In Media studies, looking at narrative structure implies that we explore the way in which the information contained within a text is revealed to us.”

Media Studies: The Essential Resource, Rayner, Wall & Kruger, p28

Key issues:

Narrative structure Conventional or unconventional?

Technical codescamera use shots, angles and movementlightingsoundsfxediting

Verbal/Language CodesAnalysis of language, written and spoken. Also we can look at signs contained in graphics. What do we learn from the language? What do particular graphics tell us?

Symbolic Codes/ mise en sceneHere we are looking at signs contained in the narrative that have specific meaning. What are the connotations of certain settings or costumes? What does a single prop seem to symbolise?

Mode of address/Audience positioning within a narrativeYou will need to discuss how the audience is positioned through technical, language and symbolic codes.

Key theoretical issues relating to TV and Film

1. Conventional narrative:

classic Hollywood narrative linear chronological structure continuity editing cause and effect narrative beginning>middle>end equilibrium>disequilibrium>restored equilibrium character role and function: protagonist/hero; antagonist/villain; heroine;

etc. conflict and resolution

You may need to make some reference to:

Todorov ‘s 5 part structure:

Stage 1: The state of equilibrium is definedStage 2: Disruption to the equilibrium by some action or crisisStage 3: The character(s) recognition that there has been a disruption, setting goals to resolve the problemStage 4: The character(s) attempt to repair the disruption, obstacles need to be overcome to restore orderStage 5: Reinstatement to the equilibrium. Situation is resolved, a conclusion is announced

(Remember: These stages may be presented in a linear order but the film maker can always choose to muddle up the chronological order of the narrative and have the end at the

beginning.)

Or Propp’s theory that there are only a certain numbers of characters, who appear in most narratives.

Character Type

Role within narrative

Hero Leads the narrative, is usually looking for something (a quest) or trying to solve something (a mystery). Does not have to be male

Villain Conflicts with the heroHeroine Is usually some sort of prize or reward for the hero. NB if your hero is

female, your heroine can be maleFather An authority figure who offers a reward to the hero for completing

their quest. That reward might be a prince or a princess or a cool new job

Helper Helps the hero - often acts as a sidekickDonor Gives the hero something - a clue, a talisman, a special power - which

helps them complete their questMentor Teaches and guides the hero

(Remember: These character types do not have to be definitive of every narrative and you may find films that include barely any. We do often, though, see them over

a wide range of narratives.)

Or Levi-Strauss’ Theory of Opposition’: The idea that all narratives need to be driven forward by conflict that is always caused by a series of conflicting forces. He called this theory the ‘and it is used to describe how each main force in a narrative has its equal and opposite. If we apply a Levi-Strauss theory analysis it means identifying these opposing forces. E.g.

light/dark good/evil noise/silence youth/ageright/wrong poverty/wealth strength/weakness inside/outside

When applying this theory the understanding of the conflict between the opposing forces will drive the narrative on until finally some sort of balance is restored or a resolution achieved.

2. Unconventional narrative structures

Look for the following structures:

elliptical: a structure in which certain key pieces of information or events are omitted. It is up to the audience to fill the gaps.

enigmatic: a narrative that includes events that can be interpreted in more than one way. Sometimes the full meaning is made clear by the moment of resolution but at others it is up to the audience to explain actions and events for themselves. (See section on Barthes below)

stream of consciousness: a technique that presents the thoughts and feelings of a character as they occur as a continuous, flowing series of images and ideas running through the mind.

surreal: with the structure of a dream or nightmare, often using grotesque, fantastic or just surprising and unexpected images with no obvious logic or reason behind the images. They are often represented in a very realistic style but seem to put a twist on reality

fragmented: a structure which gives fragments of a story, often out of linear sequence

time disordered: a non linear structure which moves back and forward in time without necessarily signposting this to the audience.

1. Studying Narrative does not mean studying the story..........

http://www.youtube.com/watch?v=4meeZifCVro

As the short film Lovefield (Ratthe 2008) demonstrates:

What is the story behind Lovefield?

The audience is led to believe that a crazed murderer is stabbing a helpless woman to death in an isolated corn field somewhere in America named Hedren Hill county when in fact he is helping her deliver a baby. Ratthe has done this to keep his audience begging for more and take them on a rollercoaster ride of different emotions to leave them in suspense and shock.

How is Lovefield narrated?

It is narrated enigmatically as the whole film can be interpreted in different ways and can be seen as different genre types but can also be interpreted elliptically as the audience are left to make their minds up with key pieces of information that are given without highlighting the whole scenario and true meaning of the story. The audience immediately believe that the woman is being killed due to sound and camera positioning etc.

What techniques are used to reveal the information to us? Give details/evidenceTechnical codes

camera use shots, angles and movement

lighting sound sfx editing

The first shot establishes the setting and is a crane shot telling the audience where the story is to be set. Slow scary violin screeches can be heard preparing the audience for something bad that is going to happen. The creaking sign can also be heard showing the complete silence and isolation.

Symbolic Codes/ mise en sceneLook at signs contained in the narrative that have specific meaning. What are the connotations of certain settings or costumes? What does a single prop seem to symbolise?

The sky is grey and dull linking in with the horror aspect of the film using pathetic fallacy but the cornfield is golden dominantly contrasting and maybe connoting innocence and purity in form of the baby that is being delivered. The killer wears denim dungarees which ties in with the conventions of a Nevada desert serial killer.

Audience positioning within a narrative:

to share the pov with the protagonist through camera use, editing or direct mode of address,or

to be given an omniscient viewpoint by which they can see the threats and dangers to be faced by the protagonist.

Anything else?

eg language/verbal codes, genre features, etc

The role of the active audience

In a conventional fictional narrative the audience is likely to be positioned as passive and to take a particular viewpoint, but the situation can be more complex with more unconventional narratives or narrative in non-fiction media.

The key question you need to ask is this: How does an audience engage with these texts?

A quotation from Roland Barthes can help you answer this. In a crucial section from his work S/Z He describes texts as:

"a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one.”

http://www.cla.purdue.edu/academic/engl/theory/narratology/modules/barthesplot.html