Narrative Theory

Learning Objective: To be able to show an understanding on what a narrative theory is.

Learning Outcomes:
ALL: Will be able to describe the different points of the theory. E
MOST: Will be able to explain the different theories with appropriate examples. C
SOME: Will be able to use media language effectively to discuss the purpose of narrative theory with a variety of examples. A

Narrative Theory

In everything there is a beginning, middle and an end. A narrative in its most central sense is a series of events, but in order to construct meaning from the narrative those events must somehow be linked together.

Conventions : There are a series of codes and conventions  that help us interpret and understand the text. They need to be considered when we look at a narrative:

Genre

Character

Time
 

Form

Propp’s analysis of folk tales:

Vladimir Propp analysed a whole series of Russian folk tales and decided that the same events kept repeating in each of the stories, creating a repetitive consistency within all tales. Morphology of the Folk Tale, was first published in 1928 and has had a huge influence on literary theorists and practitioners ever since.

Propp extended the Russian Formalist study of language to his analysis of folk tales. He broke down the tales into the smallest possible units, which he called narrative functions, necessary for the narrative to exist and displays a consistent pattern in most stories.

 

Propps Theoretical Idea of Narratives:  

Characters that perform a function

The Hero – The major character is usually the hero (protagonist) with whom the reader will normally associate most strongly and who is the key person around which the narrative is told.Although this person is often a hero in some sense, they may also take another form, such as a victim or a seeker after some treasure or knowledge.

The Villain –The main person who seeks to stop or destroy the hero is the villain, such as Darth Vader in Star Wars. The Villain typically is morally bad, highlighting the goodness of the Hero. The Villain may seek to prevent the Hero from achieving the goal or may quest after the same thing. The Villain may also be a tempter, for example, Darth Vader tries to seduce Luke Skywalker over to the 'dark side'. 

The Donor – The Donor is a person who gives the Hero something special, such as a magical weapon or some particular wisdom. They may typically be Gods, sorcerers or wise Persons, although they may be gatekeepers.

This role may be combined with that of a Helper. The Donor may also be capricious and not easily swayed and may not give up their gift without setting the Hero another task, from a simple riddle to a whole other quest.

The Dispatcher – An early role in the story is that of the Dispatcher who sends the Hero on the mission. This may be a family member, mentor or close friend. It can also be the Princess's Father, who gives the Hero a set of quests to be completed before he gains the hand of the Princess.

The Dispatcher may also be combined with another role, for example the False Hero who then trails along behind (perhaps disguised as a Helper).

The False Hero – A variant on the villain and a potential complication within the plot is the False Hero, who appears to act heroically and may even be initially mistaken for the real Hero.

The False Hero will try to steal the Hero's thunder, grabbing the credit and perhaps trying to marry the princess instead. The False Hero may also gain the respect or other control of the Princess's Father, thus frustrating the Hero's ability to gain the hand of the Princess.

The Helper – The Hero is supported in his or her quest by a Helper, often a wise old man or magician, who appears at critical moments to provide support. The contrast between the limitations of this person and the hero may provide a further exposition of the hero's defining characteristics such as intelligence, determination, courage, etc.

Other helpers appear along the way as friends or random people who fall into the predicament and support the Hero.

The Princess – The Princess may take two forms. First, she may be the object which is deliberately sought by the Hero, perhaps finding where the Villain has taken her. Secondly, she may be the reward, such that after completing some other mission, he gains her affections or hand in marriage.

The Princess may be seen very little in the story, perhaps appearing only at the end, or may be an integral character, for example where she accompanies the Hero on his mission, where he may win her heart by the courage and determination of his actions.

The Princess may be wooed by many, in particular by the False Hero. When we see the Princess being won by the False Hero we may rail and rant in frustration as we see her falling unwittingly into her clutches.

 Her Father – Finally, there is the Princess's Father, who constrains the Princess or who may Dispatch the Hero on his mission to save the Princess.

The Princess's Father is a key figure for the Hero to persuade, as the Father is almost always protective of his daughter. The Father may also be in competition in some way with the Hero for the Princess's affections and a triangle may form.

Preparation

A community/kingdom/family is in an ordered state of being

A member of the community/kingdom/family leaves home

A warning is given to the leaders of the community or a rule is imposed on the hero

The warning is discounted/ the rule is broken

The villain attempts to discover something about the victim of the broken rule

The villain tries to deceive the victim to gain advantage

The victim unwittingly helps the villain

Complication

A state of disorder
The villain harms a member of the community/kingdom/family
One of the members of the community/kingdom/family desires something
The hero is sent to get what is desired
The hero plans action against the villain

Transference

The hero leaves home

The hero is tested or attacked/ he meets the test and is given a magical gift or helper

The hero reacts to the donor

The hero arrives at the place he can fulfil his quest

Struggle

There is a struggle between the hero and the villain
The hero is branded
The villain is overcome
The state of disorder is settled

Return

The hero returns
The hero is pursued
The hero escapes or is rescued
The hero arrives home and is not recognised
A false hero claims rewards
A task is set for the hero
The task is accomplished

 RecognitionThe hero is recognised
The false hero or villain is unmasked
The false hero is punished
The hero attains the reward (princess/ kingdom)

 

Criticisms

 Some critics claim there are many more character types than Propp suggests that we should identify.

Propp’s theory of narrative seems to be based around a male dominated idea that they are the hero’s of the story. It is not likely for the storyline to reverse in anyway. E.g. the hero could be a woman; the reward could be a man.

Critics argue that Propp’s order of characters and events is restrictive. Changing the traditional format would change the whole way Propp proposes a narrative should be. E.g. the hero may kill the villain earlier in the narrative.

Also Propps theory applies to Fairy tales and similar narratives based around quests, it does not apply to all narratives.

             Todorov theory on narrative:

Todorov suggested that stories begin with an equilibrium or status quo where any potential opposing forces are in balance. There are events, setting in chain a series of events. Problems are solved so that order can be restored and the order of the narrative continues. It consists of five stages .

- A state of Equilibrium (all as it should be)
- A disruption of that order by an event.
- A recognition that the disorder has occurred.
- An attempt to repair the damage of the disruption
- A return or restoration of a new equilibrium.

* Armoured handsome man - Stereotypically handsome with blonde neat hair, good looks, he parades to a castle on a horse. The importance of this character sets the scene of a fairytale and how he could be a handsome prince about to rescue a defenceless princess.

* Wolf in grannies clothes – Similar to the famous fairy-tale of little red riding hood, the importance of this character shows that the story will not be a stereotypical fairy-tale as it breaks the idea of Propps theory. Already we are expected to see a princess lying in bed as we can assume this male character is a princess on a quest to rescue a princess.

Relation To My Own Thriller Film :

Although these theorists ideas were crucial when thinking about narrative theory for my opening thriller, i believed it did not really apply to the dynamics of a thriller opening, but more like a fairy-tale, So in research of other theorists and came across Rowland Barthe's narrative theory  on conventions and codes. Roland Barthes' narrative theory claims that a narrative can be broken down into five codes or sets of rules. These are,

Action code which refers to the events taking place

Enigma code which refers to the questions raised and answered

Semantic code which refers to the characters and characterisation

Referential code which refers to the information and explanation

Symbolic code which refers to the connotations of sign

 

Directed in the way we see a narrative can be viewed from different angles and perspectives. A story may give a significant meaning that is obvious to everyone but when the story untangles or viewed from a different viewpoint it may be a complete different story. I think this compliments thriller genres film as to keep the suspense and mystery you want to be able to give a wider narrative to keep the audience aware what is always going to happen next, when basing this on psychological thrillers. The narrative of the story may be something the audience does not expect at all.

In this clip of the film Identity (2003), the narrative the film has displayed so far is a group of travellers who are stuck in an area due to bad weather conditions. One by one each of them are killed by a supposed killer, all accusing each other they identify a common similarity amongst them. The audience believe that the only narrative within the film is the one we have been showed, the narrative I have described above. However, the audience then become aware the characters and the situation at hand is a make believe story created in the mind of a man with split personality. Each character is an imaginary persona of this one man, and the killings are not real.  When looking at Barthes theory this type of thriller compliments his ideas and approaches of the audience being shown a different view point to a film and all is not what is appeared to be ‘ obvious’. We believed the narrative of the film was about this group of people being killed when in fact the narrative was something completely different.  Adding this to my own thriller may help support the 3’s , shock , surprise, suspense.