Narrative theory

Narrative theory

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  Narrative Theory Definitionsof Narrative Narrativeis defined as “a chain of events in a cause-effect relationshipoccurring in time” (Bordwell & Thompson).  Narrativeis ‘away of organisingspatial andtemporalevents into a cause-effect chain of events with a beginning, a middle, and end thatembodiesa judgementaboutthe nature of events’ (Branigan).  Narrativetheory analysesthe way in which media texts communicatemeaning aboutevents.  Narrativetheory can be applied torange of different media includingfilm, TV. Photographs, andmagazines.  Narrativeanalysisof internet basedmedia is more problematic, thoughmay still be relevant. For example, youcouldconsider how someone’sFacebook profile creates a narrativeabout their life. Edward Branigan(1992)  Braniganargues that narrativeis ‘a way of organising spatial andtemporal data into a cause- effect chain of events witha beginning, a middle andend that embodies a judgement about the nature of events.’  What is Branigansaying? Can youthink of an example?  Branigan’skey pointis thatthe narrative will embody a judgement – ideology and narrative. Vladimir Propp(1928)  Proppwas a Russiantheoristwho suggeststhat there are a limited numberof character types thatshare a function.  When an audience readsa media text it deploysits knowledge of these character typesin order to decode the meaningof the text.  Can yourelate any of the character typesto the characters in yourAS film?  1. The villain  2. The hero, orcharacterwho seeks something  3. The donor,whoprovidesanobject with somemagic property.  4. The helper, whoaidsthehero.  5. The princess, rewardfor the hero, and object of the villain’sschemes (can be male)  6. Her father, whorewardsthe hero.
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   7. Thedispatcher,whosendsthehero on his way.  8. The false hero, thecharacterwho also lays claim to the princess butis unsuitableand causes complications. TzvetanTodorov (1969) RolandBarthes (1960s)  RolandBarthes' narrativetheory claims thata narrativecan be brokendowninto five codes or sets of rules to help the reader makesense of it.  He emphasisesthe active role of readers in creating meaning, and their ‘culturally formed expectations’.  The 5 codes: 1. Actioncode whichrefersto the eventstaking place throughaction e.g. a fight or a chase 2. Referential code whichrefers tothe information andexplanation 3. Semantic code whichrefersto the characters and characterisation 4. Enigma code whichisa narrative device that teases the audience by presentinga puzzleor riddle to be solved. Worksto delay the story’sendingpleasurably. 5. Symbolic code whichrefers to the connotationsofsigns Claude Levi-Strauss (1972)  Social Anthropologist.  Studiedmythsof tribal cultures.  Examined how storiesunconsciously reflect the values, beliefs andmythsof a culture.  These are usually expressed in the form of binary oppositions.
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   His researchhasbeen adaptedby theoriststo reveal underlyingthemes andsymbolic oppositionsintexts.  A conflict between two qualities or terms.  For example in fairy tales: The Good The Bad  Christian(kings queensetc) pagan (witches)  domestic savage  weak princesses strongwrong doers  safe castles dark wilderness forests  pretty ugly  innocent devious Allan Cameron: Modular Narratives(2008) Since the early 1990stherehasbeen a trend towardsnarrative complexity within popularcinema. Anachronic: Modified flashbacks/flashforwards Noclear dominancebetween narrativethreads Forking-Path Alternative versionsof the story Outcomesthatmight result from slight changes Episodic Collection of stories joined by a commontheme Split Screen Spatial rather thantemporal lines PostmodernNarratives  Sometheorists suggestthatpostmodernnarrativesare different from previousnarrative structures.  Characteristics of postmodernnarrativesinclude:  Irony, playfulness, andblack humour  Intertextuality  Pastiche
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   Metanarratives  Extremeself-reflexivity/self-awareness  Temporal distortion  Hyperreality Postmodernapproach – Pastiche  Frederic Jamesonarguesthat postmoderntextsare characterised by pastiche.  A pasticheis animitation of anothergenre or text.  Jamesonarguesthat "Pastiche is...the imitation of a peculiar or unique, idiosyncratic style, the wearingof a linguistic mask, speech in a dead language.”  Linda Hutcheondisagrees with this view arguing thatpostmoderntextsuse pastiche in a knowingway acknowledgingthe constructednature of representation.  Does the clichéd natureof the videoact as a critique of the values it promotes? Narrative Analysis  Narrativeanalysisinvolvesconsidering how a range of elements (including mise-en-scene, editing, camerawork, sound, aswell as events) create meaningfor the audience.  Narrativeanalysisfocuses on how the meaningsmade by the audience are constructed Barthes – Narrative Codes  Action –Viewers are expected to connect different pieces of narrative(e.g. The boy is shown arguing onhis phone– viewer assumesit is with his girlfriend).  Enigma –Willthe jock andthe geek get together?  Semanic –glasses, book, notepads, redcar, uniforms, white dress/red dress  Symbolic –conflictsbetween male/female, popular/unpopular, different typesof femininity  Referential –the videodraws on stereotypes/clichesof teen movies – jock, cheerleader, geek, girl next door, prom, etc.