2. NARRATIVE MEANING
Narrative is the way the story is told. It is the way
a series of facts are organised and presented.
This is the difference between narrative and story.
Story is the facts, for example A meets B,
something happens, A leaves B. Whereas
narrative might begin Once upon a time……

3. NARRATIVE
The way the story if told. How meaning is
constructed for the audience
Groups events into cause and effect – action and
inaction
Organises time and space to suit the medium
Narrative is constructed through elements like
camerawork, lighting, sound, mise-en-scéne
and editing.

4. . FIVE-STAGE NARRATIVE STRUCTURE
Exposition – setting scene and introducing
characters
Development – situation develops, more
characters introduced
Complication – something happens to complicate
lives of characters
Climax – decisive moment reached; matters come
to head; suspense high
Resolution – matters are resolved and satisfactory
end is reached.

5. TVZETAN TODAROV
Very simple idea that narrative is
EQUILIBRIUM – DISEQUILIBRIUM – NEW
EQUILIBRIUM
The middle stage where something happens
disturbs what was established at the start, and
the resolution of that results in a new
equilibrium which is different from the original
one.

6. TVZETAN TODAROV
This can be expanded to be
EQUILIBRIUM – DISEQUILIBRIUM –RECOGNITION
OF DISRUPTION - ATTEMPT TO REPAIR
DISRUPTION – CHANGE TO A NEW
EQUILIBRIUM

7. VLADIMIR PROPP
Analysed a series of Russian fairy tales and come
up with a list if stock characters and character
types. Not the only character analyst but the
best know one.
Such as hero (protagonist), villain (antagonist),
donor, princess, her father, dispatcher. false
hero, helper
Further details can be found
http://www.adamranson.plus.com/Propp.htm

8. VLADIMIR PROPP
In his analysis he also identified stock situations
which he called narratemes, or narrative functions,
necessary for the narrative to exist. Each narrateme is
an event that drives the narrative forward, possibly
taking it in a different direction. Not all of these functions
appear in every story, but they always appear in the
same order.
http://www.mediaknowall.com/as_alevel/alevkeyconce
pts/alevelkeycon.php?pageID=propp

9. VLADAMIR PROPP - CRITICISM
Propp doesn't imply that the "functions" he found
are universal in fiction (but some are very
general), nor that they are an exhaustive
description of fairy tales, nor that they are
directly applicable to other traditions of fairy
tales (but other European fairy tales are actually
very similar to the ones Propp studied).

10. VLADAMIR PROPP – CRITICISM (CONT)
Propp's work was important for two related
structuralist ideas: that all fictional works have
basically the same structure underneath, and
that a story can be created by instantiating a
sequence of abstract plot elements
But do not try to apply his ideas to all texts
(probably only linear, quest driven ones), and
do not forget the lists are not exhaustive.

11. NARRATIVE THEORY
Both Todarov and Propps ideas about narrative
emphasise resolution in the end and derive
from structuralism.
Propp also gives up the perspective that all
characters have a function and there to drive
the narrative forward.

12. STRUCTURALISM
Ferdinand de Saussure the most influential
structuralist stated that a sign has no intrinsic
meaning but relies on its context ( syntagmatic
dimension) and the group (paradigm) to which it
belongs.
He contended that language must be considered as a
social phenomenon, a structured system that can
be viewed synchronically (as it exists at any
particular time) and diachronically (as it changes in
the course of time).

13. SAUSSURE - SEMIOTICS
He gave us the two part model of the sign
signifier – the form that the sign takes
signified – the concept it represents
Also emphasized the negative oppositional
differences between sign, and that key are
these binary oppositions. To be what the others
are not.

14. CLAUDE LEVI-STRAUSS
An French academic thinker who stated that our
understanding of certain words derived not so
much from the words but rather their opposites
or what they are not, our understanding of hero
is driven by our understanding between the
word and its „opposite‟ or as it is referred to
„binary opposite‟.

15. CLAUDE LEVI-STRAUSS
Oppositions that should help you understand the
idea are the youth/age binary, the
masculinity/femininity, the good/evil binary, and
so on.
Levi-Strauss noticed another important feature of
these 'binary opposites': that one side of the
binary pair is always seen by a particular
society or culture as more valued over the
other.

16. NARRATIVE CODES – ROLAND BARTHES
Narrative Codes Barthes suggested that narrative
works with different codes which activate the reader
to make sense of it.
Enigma Code – little puzzles to be solved Action
codes – looks, significant words, close ups which
suggest an event such as ‘jealousy’, ‘falling in love’
accident waiting to happen etc Symbolic code – an
object, event or action which refers to something
outside itself – like the flower which represents ET’s
life.

17. ROLAND BARTHES
Barthes also gave us two narrative codes that in
theior different ways drive the narrative forward
and keep us the viewer watching and engaged.
Both lead to the creation of a certain amount of
suspense and because people have a longing
for resolution keeps us reading or viewing the
story.

18. ROLAND BARTHES
The HERMENEUTIC code which refers to plot
elements that raise questions that we want
answered eg we see a dead body and we don‟t
know why, how, whom etc
The PROAIRETIC code refers to actions in the plot
which lead to other actions, eg an assassin
draws a gun and we wonder if he will shoot or
get shot, rather that have why explained to us

19. SYD FIELD
Suggests says a typical Hollywood film can de
divided into three sections.
Plot points are important pieces of plot that
effects the lives of the characters, change their
relationships and alter tone of the film.
These happen between the Act 1 and 2 and
between act 2 and 3

20. SYD FIELD
Act 1 the set up. The first 10 mins are just so
important to grab the audience. Intro the main
character, why they should care what happens.
They should also be able to see what style and
genre. With the next 20 mins showing the
nature of the problem that the

21. SYD FIELD
Act 2 the confrontation. This ios the longest
section of the film and shows us more and more
extreme difficulties for the hero. They will be
helpless and it will look like they are going to de
defeated. And then something will happen or
they realise something that starts to turn it
around and they will realise the way to succeed
at plot point two.

22. SYD FIELD
Act 3 – the resolution. The hero wins ( surprise
surprise!!)
often by confronting the opposing forces

23. STANLEY KUBRICK
And others used the term „non-submersible units‟
to refer to the essential elements of a story,
which would carry the film, the bits that the film
just couldn‟t do without These units should be
so strong and interesting that they would be
themselves keep the viewer hooked.
“ All you need is six non-submersible units…
forget about the connections..”

24. 2001 NON-SUBMERSIBLE UNITS
1. The monolith visits humankind in its infancy
2. An early man discovers technology (Moon Watcher
smashes the bones)
3. The monolith is excavated on the moon by astronauts and
sends a message to Jupiter
4. Humankind send a manned mission to Jupiter to
investigate
5. Advanced technology (Hal) endangers the mission crew
6. Technology is defeated and the surviving cremember
rendezvous with the aliens
7. The Starchild is born