Narratives

Narrative

Narrative Theory From the Theorists of Media

ARISTOTLE'S UNITIES - Perhaps the first 'narrative theory' as such. A narrative should be created within a 'unity' of time, place and action - that is, it should all take place in the same location, in real time, and with all action moving towards a logical (and moral) conclusion.

FREYTAG'S DRAMATIC STRUCTURE- Gustav Freytag was a 19th Century German dramatist and novelist who constructed his theory from the analysis of ancient Greek and Shakespearean drama. Freytag's dramatic arc is divided into five parts. (Exposition, Rising Action, Climax, Falling Action & Denouement/Catastrophe/Resolution)

TODOROV’S THEORY – Todorov proposed a basic structure for all narratives. He stated that films and programmes begin with an equilibrium, a calm period. Then agents of disruption cause disequilibrium, a period of unsettlement and disquiet. This is then followed by a renewed state of peace and harmony for the protagonists and a new equilibrium brings the chaos to an end. The simplest form of narrative (sometimes referred to as ‘Classic’ or ‘Hollywood’ narrative).
PROPP’S THEORY –Vladimir Propp’s theory was formed in the early twentieth Century. He studies Russian fairytales and discovered that in stories there were always 8 types of characters evident. These are: the hero, the villain, the donor, the dispatcher, the false hero, the helper, the princess and her father. He did not state these characters were all separate people e.g. the provider could also be the helper. There are only 8 different character types and only 31 things they ever do. Once you have identified the character type (e.g., the hero) it’s easy to guess what they will do (save the maiden, defeat the villain, marry the maiden or whatever) because each character has a SPHERE OF ACTION. This is easily relatable to films and programmes today.


BARTHES’ ENIGMA CODE – The narrative will establish enigmas or mysteries as it goes along. Essentially, the narrative functions to establish and then solve these mysteries.
LEVI-STRAUSS’ BINARY OPPOSITION – Narrative tension is based on opposition or conflict. This can be as simple as two characters fighting, but more often functions at an ideological level – e.g., in Westerns, what do the cowboys and Indians each represent? What ideologies are embodied by the opposed sides in LOTR or Star Wars?

narrative

For my exam I have decided to write about my A2 music video as I feel as though it has a clearer narrative and better storyline. Our short film last year at AS level was told in a linear way in chronological order which seemed very "to the point" and predicatable, but our music video has flashbacks which is more effective and broader to discuss in an exam whereas I think our film could be quite vague and dull.

The narrative in our film is a young teenage ballet dancer who, after a ballet lesson gets stalked by a mysterious killer. In the film we see her journey home from school, her first meeting with the killer, and the ending which is a cliff hanger as we don't know if he catches her or not, and then the film would begin. During this journey the places she passes she passes a music box, and this music box is a symbolic code for the killer always following her.

The narrative in our music video is a teenage girl has just broke up with her boyfriend and in the music video we see her flashback into the good times with him and she remembers the good memories she had with him singing the lyrics to the song. It includes both narrative and performance in it showing a range of different ideas and shots which will be interesting to talk about and why we chose particular symbolisms.

I believe that my narrative skills has improved greatly from AS to A level and therefore I will create a stronger narrative in my music video.