1. L/O: To understand the narrative theories of Todorov,
Strauss, Barthes, Propp, Cameron
-to be able to apply theory to films in order to identify
and explain the theories

2. 
Task: To make a powerpoint which explains the
theories and gives evidence from films to explain
them
Title Page:
 Part A
 Part B
 Part C
 Part D
 Part E
 Part F
Assignment 8: Narrative theory
Todorov (1&2)
Levi-Strauss
Barthes
Propp
Other Terms
Cameron – Modular Narrative

5. 
Suggested there are 5stages of narrative: (with 3
major parts)
1.
2.
3.
4.
5.

EQUILIBRIUM (or normality)
DISEQUILIBRIUM (conflict/disruption of
equilibrium by action or event
Recognition of DISEQUILIBRIUM (disruption/conflict)
Attempt to repair disequilibrium
NEW EQUILIBRIUM (new normality)
Simply, it is the equivalent to the classic structure of
beginning, middle, end.

7. 



This disruption of the initial equilibrium motivates the cause/effect chain
of events that makes the plot of the film. Stages 2, 3, 4 may be
repeated many times over before we reach the final stage of new
equilibrium (end). Hence, the 'edge of our
seats' experience (anticipation) is maintained by the lack of
resolution. The full narrative structure establishes the audience's
pleasure and satisfaction that are achieved by the resolution: 'happy
ending'.
Often, the new equilibrium involves a new state of being, where not only
has order been RESTORED, but, some kind of learning process or
improvement to life has taken place.
In the case of franchise films (or trilogies), each film leaves the audience
with some 'unfinished' aspect of the plot in order to prepare them for
the sequel.
Different genres will present this 5 stage process differently, occupying
different typical disruptions and resolutions.

8. THINK OF DIFFERENT DISRUPTIONS/CONFLICTS
AND RESOLUTIONS FOR DIFFERENT GENRES:
*When
complete,
take photo
using iPad
and put on
powerpoint
Complete this sheet

9. 

To identify and explain Todorov‟s theory in
relation to a film.
Film in your subgenre

Could be a 5 point timeline…..

12. 



Believed that our world is described in BINARY OPPOSITES. When
we look at themes within stories and real life we realise they
consist differences, contradictions and conflict or OPPOSITES.
◦ night/day
◦ good/bad
◦ dark/light
◦ male/female
We subconsciously recognize the essential conflict in relation to narrative
which familiarity in stories and films.
Strauss believes these oppositions are fundamental to our ability to make
meanings of our lives. For example, we only understand good when it is
opposed to evil.
He believed opposition offered structure to texts including
stories, plays, books and films. In other media:
◦ Washing powder adverts: before/after contrast and effect to convince
you to buy the product
◦ News reports: good/bad to present story simply

13. One of the most obvious opposites in film is the opposition of hero/villain
HERO
VILLAIN
Good
Evil
Native
Outside
Love
Hate
Handsome
Ugly

14. SETTLERS
NATIVE
AMERICANS
Civilised
Savage
Christian
Pagan
Ordered society
Outside society
Town
Wilderness
Handsome
Scarred

15. GOOD
EVIL
Day
Night
Light
Dark
Christian
Supernatural
Innocence
Violation

16. 



There is a key problem with his theory (which is
clear in above examples)
Oppositions inevitably lead to a status of
hierarchy, one side has to 'win' the conflict, which
is tied to the structure of the narrative.
Of course, the audience are expected to agree
and favour the winning 'side'.
This can create a dangerous 'norm' (example
ideology of white, handsome, big muscles,
strong, brave, male hero

17. 
Think of opposites in a variety of genres and
give examples from films
YOUR GENRE: _______________
Film
“_____”
Opposite 1
Opposite 2
Explanation
Explain how they are
opposites
PIC HERE
Briefly explain this character
PIC HERE
Briefly explain this character
Extension: How does do
the binary opposites
provide narrative
structure?
Extension: Evaluate the
use of binary opposites.

18. 

Set: Thur Feb 13
Due: Fri Feb 14

Create Powerpoint with title Assignment 15:
Narrative Theory
Part A: Todorov Task 1 & 2
Part B: Strauss

Part C/D = to complete later this week.



21. 

Similar to Todorov's theory, the audiences experience of
the narrative involves ANTICIPATION and EXPECTATION of
a resolution to disruption/conflict; Barthes theory of
codes encourage the audience to SEEK ANSWERS & CLUES
to make them anticipate outcomes.
Identified these by „codes‟:
◦
◦
◦
◦
◦
Enigma Code
Action Code
Semantic Code
Symbolic Code
Cultural Code

22. 





Narratives set up as puzzles to be solved (ex content
of letter, what is in a box/briefcase, why is killer
killing a victim)
It is basically portraying a mystery and raising
questions as way to intrigue/draw in the audience
Can be applied to any text, a story, a poster, film etc.
These enigmas delay the ending/resolution to
maintain audience interest and anticipation
Answer to enigmas contribute to our enjoyment of
resolution (new equilibrium) (in mainstream films)
Sometimes enigmas left unresolved (often in less
mainstream films)

23. 

Usually thriller, mystery based in which the
question is “Who is the killer” and/or “Why are
they killing people”
Example:
“Saw”
Who is
responsible?
Why are
they there?

24. 
Codes of behaviour and actions that lead
audience us to expect certain consequences
(based on other stories/films and their
conventions)

25. THRILLER/MYSTERY
Action:
A) Killer/villain walks into room
with gun/weapon
B) Girl hiding from killer/villain
Assumption:
A) Victim(s) will get shot/hurt
B) Girl will get found/taken
SLASHER/HORROR
Action:
A) Going into dark alley or dark
stairwell/room alone
B) Being promiscuous or
flirty/suggestive
C) Virgin, good hearted female
Assumption:
A) Will get killed
B) Will get killed
C) Will live
ROMANCE
Action:
Couple realise their actions and
acknowledge their mistakes to
each other
Assumption:
They will kiss and make up

26. 


Connotative (connotation) meanings of
characters, objects, locations
We learn from experience about these
denotations & connotations
Iconographic features work in same way

27. Pretty Woman
(Romance/Drama)
American Beauty
(Drama)
Carrie
(Thriller/horror)
Red dress =
sexuality and love/passion
Roses = sexuality/sexual desire
Blood =
Murder and violence

28. Hero is
handsome,
manly,
good
hearted
Villain is
disfigured, not as
strong/, evil and
selfish

29. 

Iconographic features have clear connotations
and meanings to audience
Spaceships & Aliens = sci-fi

30. 

Symbolic features often signify oppositions
and antitheses (savage/civilized, light/dark)
Ex. in Thelma & Louise = male repressive
world and female escape (this is
represented/expressed symbolically through
interiors/actions of male/female.....male =
dark, trapped, repressive, abusive......female
= light, free, airy, justice etc

31. Feeling positive and free after leaving
repressive marriages, are together and
Thelma saves Louise (free in sunshine)
Drive away in open space, drive forward
(running away), don‟t look back
In convertible = open space (freedom)
Even after committed crime, have to
regrets and want to keep running, keep
committing crimes
Even when about to get caught, drive off
edge (to not be constricted in jail)

32. Louise‟s husband is
unsuccessful, abusive
and controlling
Thelma‟s
husband has a
good heart but
isn‟t a man of
achievement or
success
The young man Louise
sleeps with seems
charming, but is a
criminal and a thief who
steals their money
The man Louise meets
in a bar is drunk,
creepy, abusive and
rapes her after she
refuses sex
The truck driver who drives beside
them when they are driving is a
lonesome and desperate man, is
restricted to be in a truck all day
and night

33. 
Outside of text and knowledge we commonly share to bring understanding
of the meaning in the text. Often references to things in popular culture and
historical events.
◦
Ex In modern adaption of 'Romeo & Juliet' there are a wide range of modern interpretations we
know as modern (were not in original story): guns, corporations, locations such as petrol stations,
setting in multicultural environment, drag queens, drugs, cars, lifts, etc

34. 

We use our these cultural references to ENHANCE our reading and
understanding of the text
Sometimes films are set and revolve around a particular (real) historical
event or era....our understanding of these time periods or events again
enhances our understanding.
◦
Example: Full Monty = set in a time which is dealing with a financial recession due to
decline in traditional British industries (Think of films that are set around the events
of 9/11 or other wars.

35. 
Explain each code with examples from films
(try to do in your subgenre)
◦
◦
◦
◦
◦
Enigma Code
Action Code
Semantic Code
Symbolic Code
Cultural Code

38. 



Studied folklore, fairytales and legends in many
countries and noticed many similarities in them;
similar character types and same problems.
He formed 2 theories, the first is about 7
distinctive character types called 'Spheres of
Action'.
Because they are based on historic fairy tales and
folklore, this theory might seem very
recognizable and rather simplistic.
Just remember these stories are often children's
tales which need to be simplistic.

39. 






1.
2.
3.
4.
5.
6.
7.
Hero
Villain
Dispatcher
Donor
Helper
Heroine
False Hero

40. 

On quest/search
Traditionally male (not always) protagonist,
role is to restore disequilibrium (usually by
defeating the villain for winning love of
heroine (princess)

41. 


Starts hero on it's way (usually to restore the
disequilibrium)
Often father of heroine
He (or she) sends hero off so he can prove his
worth (often before winning love of heroine)

42. 


Opposes the hero (antihesis)
Cause of disruption
Often threat to safety of heroine

43. 

Helps hero by giving him 'magic' tool/gift to
help him on journey
The tool/gift may be advice, a skill or an
object such as weapon

44. 

Assists/helps hero in restoring
normality/equilibrium
Like a 'sidekick' (with for whole or part of
journey...can meet on way)

45. 

Initially on side of hero but then turns against
or deceives him/her
Tempts hero away from quest
N/A

46. 


Brother of King Mufasa, uncle to Simba
Seems caring of Simba
Tempts him but really sets him up to be
killed (so he can be King)

47. 



Often referred to as 'Princess' in traditional narratives
Usually female but not always
More passive and vulnerable character; threatened by
the villain and needing rescuing by the hero
Often in love (or ends up with hero)

48. 
Of course these character roles are manipulated and changed in films and texts (or
some not there at all) and others will use more updated/modern versions for
example different representation/actions of heroine to suit more modern contexts
which reflect the changing role of women in society.
Examples of Female Protagonists in Action genre:
 Thelma & Louise (hero and heroines)


Alien franchise + Kill Bill (power is weakened by maternal instincts)
While these female characters are vulnerable, they at least have become more
dominant in terms of their role and importance to the plot rather than simply being a
prize to a male hero. They have their own weapons, fight scenes, so therefore the
Spheres of Action (character roles) have become more blurred.

49. 

In line with his Spheres of Action theory,
Propp also identified 31 functions which
motivate the story and structure of the
narrative.
Described as actions but depends on linearity
of the narrative, not applied to all films or in
that order

52. 
Identify the 7 types of characters in a film

Some films you could look at:
◦
◦
◦
◦
◦
◦
◦
◦
◦
◦
◦
1.
2.
3.
4.
5.
6.
7.
Hero
Villain
Dispatcher
Donor
Helper
Heroine
False Hero
Most Disney/Pixar animated films
Matrix
Mission Impossible
Avatar

54. 


Diegesis
Narrative Range
Narrative Depth

55. 
The internal world created by the story that
the characters themselves experience and
encounter.
(The world the characters live in (in TV/FILM).

56. Unrestricted narration
 A narrative which has no limits to the information
that is presented (gives as much info as possible,
not hiding any pieces of information to audience
(unrestricted) i.e. a news bulletin.
Restricted narration
 Only offers minimal information regarding the
narrative (offering little amount of narrative
which hides some information from audience
(perhaps to create enigma/mystery) i.e. thrillers

57. Objective character identification
 The viewer is given unique access to a
character‟s point of view such as seeing
things from the character‟s mind, dreams,
fantasies or memories.
Subjective character identification
 The viewer is given unique access to what a
range of characters can see and do. (Can see
multiple)

58. 


Explain the terms in relation to films of your
choice (can be all different)
DIEGESIS
NARRATIVE RANGE
◦ Unrestricted narration
◦ Restricted narration

NARRATIVE DEPTH
◦ Objective Character Identification
◦ Subjective Character Identification

59. Modular Narratives
Forking Path
Episodic
Anachronic
Split Screen

61. 
“Express a sense of time which can be
detachable and may have manipulation”
(where time is not linear)

62. 

Juxtapose alternative versions of a story,
showing the possible outcomes that might
result from small changes in a single event or
group of events. The forking-path narrative
introduces a number of plotlines that usually
contradict one another.
Examples include Groundhog Day, Sliding
Doors

64. 
Organised as an abstract series or narrative
anthology (collection of multiple stories).
◦ Abstract series is characterized by the operation of
a non-narrative formal system which appears to
dictate the organization of narrative elements such
as a sequence of numbers or the alphabet.
◦ Anthology consists of a series of shorter tales which
are apparently disconnected but share a random
similarity, such as all „episodes‟ being survivors of a
shipwreck.

65. 
Modular narratives involve the use of
flashbacks and/or flash-forwards, with no
clear dominance between any of the narrative
threads. These narratives also often repeat
scenes directly or via a different perspective.
Examples include:
 Pulp Fiction & Memento & 4-3-2-1.

67. 


Different from the other types of modular
narrative discussed here, because their
modularity is articulated along spatial (space)
rather than chronological or time-based lines.
These films divide the screen into two or more
frames, juxtaposing events within the same
visual field (all in 1 screen)
Examples include Timecode, Snake Eyes, Kill Bill,
127 Hours,
Snake Eyes: http://www.youtube.com/watch?v=OzaBztLaGD4

68. 




Explain the narrative theories in relation to a
film of your choice (can do different genres)
1
2
3
4

69. Add: (to existing powerpoint)
 Barthes
 Propp
 Other Terms
 Cameron

Due Tues (1st lesson after ½ term)