Narrative Theory

Todorov

Suggests that all narratives follow a three part structure:

1.     Equilibrium

2.     Disruption of the equilibrium, and finally reaching a

3.     Resolution, where equilibrium is restored.

These are the steps for all traditional stories:

     1. Equilibrium (everything is as it should be)

     2. Disruption (by an event)

     3. Recognition of disruption

     4. Attempts to repair disruption

     5. Return to equilibrium

Allan Cameron

Four types of modular narrative:

1.     Anachronic – flash backs and flash forwards with all parts of the narrative being equally important

2.     Forking paths – alternate outcomes that are different only as a result of a small change or decision

3.     Episodic – separate narratives of two different characters who are linked only by the fact that they are involved in the same incident

4.     Split Screens – films divide the screen into multiple frames, juxtaposing events within the same visual field

Levis Strauss

Theory of ‘binary opposites’ says that the majority of narratives in media forms contain characters opposite to one another. They help to thicken the plot and further the narrative, to introduce contrast e.g. good vs. evil or old vs. young in ‘Star Wars’ (Luke vs Darth Vader)

Vladimir Propp

Characters take up the role of narrative 'spheres of action’. He identified 7 different characters necessary for a narrative:

1.     The Villain – creating disruption in the film's equilibrium

2.     The Donor – gives the hero something to aid them on their journey to restore disruption

3.     The Helper – aids the hero on their journey to restore equilibrium e.g. sidekick and sometimes add comedic or romantic additions to the narrative

4.     The Hero – restores the narrative equilibrium, the central character in the media text

5.     The Princess/The Victim –  often the character most threatened by the villain and has to be saved by the hero

6.     The Dispatcher – sends the hero on their task/journey to restore the equilibrium, the  voice of reason

7.     The False Hero – appears to be good throughout the film but revealed at the end of the film to be bad

Unrestricted narration – audience knows more than the character e.g. in horror film audience knows psycho is round corner when victim is about to walk around corner – audience knows character has had an affair but partner does not

Restrictive narration – when the audience is not given all of the information and doesn’t know the full picture – films with big reveals at end