Narrative Theory
A narrative is a constructive format it can be either speech, writing, song, film, television, video games, photography or theatre that describes a sequence of non-fictional or fictional events.
A narrative includes a beginning, a middle and an end and for films this gives the viewer a chance to make their own interpretations as to what may happen within the story line, throughout the film the viewers can construct their own understanding and meanings from the narrative and with the right conventions can identify things from previous films they have already watched. All narratives have codes and conventions and the viewers examine the conventions of genre, character form and time. We use these conventions to help us interpret the text. Time is something that we as viewers can understand as a convention as narratives aren't a true reflection of real life. Therefore time is considered as "the time of the thing told and the time of the telling." (Christian Metz Notes Towards A Phenomenology of Narrative). The main reason the audience are able compare texts with others and understand these conventions is because they started reading narratives from a young age.
Theory 1: Vladimir Propp
Vladimur Propp was a Russian critic who was active in the 1920's was extremely interested in the narrative of folk tales. Folk tales included the same basic struggles and appeared to have stock characters. From this he created a theory about actions and characters as narrative functions and that whatever film you watch you will always be presented with a certain type of characters and actions.
According to Propp characters have a narrative function and provide a structure for the text:
Theory 2: Tzvetan Todorov
Trzetan Todorov simplified the idea of narrative theory whilst also allowing a more complex interpretation of film texts with his theory of Equilibrium and Disequilibrium.
Todorovs Theory is simply this:
In Todorovs' theory the narrative is seen as circular structure as apposed to a linear one.
The narrative is driven by attempts to restore the equilibrium, however the equilibrium obtained at the end of the narrative is not the same as the initial equilibrium. Todorov argues that a narrative involves a transformation, therefore the characters or situations are altered through the progression of the disruption.
Theory 3: Aristotle
Aristotle's Theory is that all films are based on common themes. Headings that are sometimes employed by producers and screenwriters include:
A narrative includes a beginning, a middle and an end and for films this gives the viewer a chance to make their own interpretations as to what may happen within the story line, throughout the film the viewers can construct their own understanding and meanings from the narrative and with the right conventions can identify things from previous films they have already watched. All narratives have codes and conventions and the viewers examine the conventions of genre, character form and time. We use these conventions to help us interpret the text. Time is something that we as viewers can understand as a convention as narratives aren't a true reflection of real life. Therefore time is considered as "the time of the thing told and the time of the telling." (Christian Metz Notes Towards A Phenomenology of Narrative). The main reason the audience are able compare texts with others and understand these conventions is because they started reading narratives from a young age.
Theory 1: Vladimir Propp
Vladimur Propp was a Russian critic who was active in the 1920's was extremely interested in the narrative of folk tales. Folk tales included the same basic struggles and appeared to have stock characters. From this he created a theory about actions and characters as narrative functions and that whatever film you watch you will always be presented with a certain type of characters and actions.
According to Propp characters have a narrative function and provide a structure for the text:
- The Hero - a character that seeks something.
- The Villain - who opposes or actively blocks the hero's quest.
- The Doner - who provides an object with magical properties.
- The Dispatcher - who sends the hero on his/her quest via a message.
- The False Hero - who disrupts' the heroes' success by making false claims.
- The Helper - who aids the hero.
- The Princess - acts as the reward for the hero and the aim of the villains' plots.
- Her Father - who acts to reward the hero for his effort.
Theory 2: Tzvetan Todorov
Trzetan Todorov simplified the idea of narrative theory whilst also allowing a more complex interpretation of film texts with his theory of Equilibrium and Disequilibrium.
Todorovs Theory is simply this:
- The fictional environment begins with a state of equilibrium.
- It then suffers some disequilibrium. (disruption)
- And in the end a new equilibrium is produced.
- A state of equilibrium.
- A disruption of that ordered by an event.
- A recognition that the disorder had occurred.
- An attempt to repair the damage of the disruption.
- A return of restoration of a new equilibrium.
In Todorovs' theory the narrative is seen as circular structure as apposed to a linear one.
The narrative is driven by attempts to restore the equilibrium, however the equilibrium obtained at the end of the narrative is not the same as the initial equilibrium. Todorov argues that a narrative involves a transformation, therefore the characters or situations are altered through the progression of the disruption.
Theory 3: Aristotle
Aristotle's Theory is that all films are based on common themes. Headings that are sometimes employed by producers and screenwriters include:
- Inciting Incident
- Dramatic Question/s
- Character Goal
- Antagonist/Protagonist
- Stakes
- Resolution
- Sympathy/Empathy
You have included the different theories well and you have also considered which theory your production will follow.
ReplyDeleteTo make this post more detailed you need to relate to more detailed examples from your narrative to support the points that you are making.