1. A Level Media:
Narrative Theory
“In Media studies, looking at narrative structure implies that we explore the way in which
the information contained within a text is revealed to us.”
Media Studies: The Essential Resource, Rayner, Wall & Kruger, p28
Key issues:
Narrative structure
Conventional or unconventional?
Technical codes
camera use shots, angles and movement
lighting
sound
sfx
editing
Verbal/Language Codes
Analysis of language, written and spoken. Also we can look at signs contained in
graphics. What do we learn from the language? What do particular graphics tell us?
Symbolic Codes/ mise en scene
Here we are looking at signs contained in the narrative that have specific meaning.
What are the connotations of certain settings or costumes? What does a single prop
seem to symbolise?
Mode of address/Audience positioning within a narrative
You will need to discuss how the audience is positioned through technical, language
and symbolic codes.

2. Key theoretical issues relating to TV and Film
1. Conventional narrative:
classic Hollywood narrative
linear chronological structure
continuity editing
cause and effect narrative
beginning>middle>end
equilibrium>disequilibrium>restored equilibrium
character role and function: protagonist/hero; antagonist/villain; heroine;
etc.
conflict and resolution
You may need to make some reference to:
Todorov ‘s 5 part structure:
Stage 1: The state of equilibrium is defined
Stage 2: Disruption to the equilibrium by some action or crisis
Stage 3: The character(s) recognition that there has been a disruption, setting goals
to resolve the problem
Stage 4: The character(s) attempt to repair the disruption, obstacles need to be
overcome to restore order
Stage 5: Reinstatement to the equilibrium. Situation is resolved, a conclusion is
announced
(Remember: These stages may be presented in a linear order but the film maker can always
choose to muddle up the chronological order of the narrative and have the end at the
beginning.)
Or Propp’s theory that there are only a certain numbers of characters, who appear in most
narratives.
Character Role within narrative
Type
Hero Leads the narrative, is usually looking for something (a quest) or trying
to solve something (a mystery). Does not have to be male
Villain Conflicts with the hero
Heroine Is usually some sort of prize or reward for the hero. NB if your hero is
female, your heroine can be male
Father An authority figure who offers a reward to the hero for completing
their quest. That reward might be a prince or a princess or a cool new
job

3. Helper Helps the hero - often acts as a sidekick
Donor Gives the hero something - a clue, a talisman, a special power - which
helps them complete their quest
Mentor Teaches and guides the hero
(Remember: These character types do not have to be definitive of every narrative
and you may find films that include barely any. We do often, though, see them over
a wide range of narratives.)
Or Levi-Strauss’ Theory of Opposition’: Theidea that all narratives need to be driven
forward by conflict that is always caused by a series of conflicting forces. He called this
theory the ‘and it is used to describe how each main force in a narrative has its equal and
opposite. If we apply a Levi-Strauss theory analysis it means identifying these opposing
forces. E.g.
light/dark good/evil noise/silence youth/age
right/wrong poverty/wealth strength/weakness inside/outside
When applying this theory the understanding of the conflict between the opposing forces
will drive the narrative on until finally some sort of balance is restored or a resolution
achieved.
2. Unconventional narrative structures
Look for the following structures:
elliptical: a structure in which certain key pieces of information or events are
omitted. It is up to the audience to fill the gaps.
enigmatic: a narrative that includes events that can be interpreted in more
than one way. Sometimes the full meaning is made clear by the moment of
resolution but at others it is up to the audience to explain actions and events
for themselves. (See section on Barthes below)
stream of consciousness: a technique that presents the thoughts and feelings
of a character as they occur as a continuous, flowing series of images and
ideas running through the mind.
surreal: with the structure of a dream or nightmare, often using grotesque,
fantastic or just surprising and unexpected images with no obvious logic or
reason behind the images. They are often represented in a very realistic style
but seem to put a twist on reality
fragmented: a structure which gives fragments of a story, often out of linear
sequence
time disordered: a non linear structure which moves back and forward in
time without necessarily signposting this to the audience.

4. 1. Studying Narrative does not mean studying the story..........
http://www.youtube.com/watch?v=4meeZifCVro
As the short film Lovefield (Ratthe 2008) demonstrates:
What is the story behind Lovefield?
The audience is led to believe that a crazed murderer is stabbing a helpless woman to death in an
isolated corn field somewhere in America named Hedren Hill county when in fact he is helping her
deliver a baby. Ratthe has done this to keep his audience begging for moreand take them on a
rollercoaster ride of different emotions to leave them in suspense and shock.
How is Lovefield narrated?
It is narrated enigmatically as the whole film can be interpreted in different ways and can be seen as
different genre types but can also be interpreted elliptically as the audience are left to make their
minds up with key pieces of information that are given without highlighting the whole scenario and
true meaning of the story. The audience immediately believe that the woman is being killed due to
sound and camera positioning etc.
What techniques are used to reveal the information to us? Give details/evidence
Technical codes The first shot establishes the setting and is a crane shot telling
camera use shots, angles and the audience where the story is to be set. Slow scary violin
movement screeches can be heard preparing the audience for something
lighting bad that is going to happen. The creaking sign can also be
sound heard showing the complete silence and isolation.
sfx
editing
Symbolic Codes/ mise en The sky is grey and dull linking in with the horror aspect of the

5. scene film using pathetic fallacy but the cornfield is golden
Look at signs contained in the dominantly contrasting and maybe connoting innocence and
narrative that have specific meaning. purity in form of the baby that is being delivered. The killer
What are the connotations of certain wears denim dungarees which ties in with the conventions of a
settings or costumes? What does a Nevada desert serial killer.
single prop seem to symbolise?
Audience positioning within a
narrative:
to share the pov with the
protagonist through camera
use, editing or direct mode of
address,or
to be given an omniscient
viewpoint by which they can
see the threats and dangers to
be faced by the protagonist.
Anything else?
eg language/verbal codes, genre
features, etc
The role of the active audience
In a conventional fictional narrative the audience is likely to be positioned as passive
and to take a particular viewpoint, but the situation can be more complex with more
unconventional narratives or narrative in non-fiction media.
The key question you need to ask is this: How does an audience engage with these
texts?
A quotation from Roland Barthes can help you answer this. In a crucial section from
his work S/Z He describes texts as:

6. "a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is
reversible; we gain access to it by several entrances, none of which can be
authoritatively declared to be the main one.”
http://www.cla.purdue.edu/academic/engl/theory/narratology/modules/barthesplo
t.html