1B) NARRATIVETheoretical Evaluation of Production

Bordwell & Thompson, 1978

This model above shows how narrative works within media texts. It resolves around the concept of story and plot combining to form structure. Most narrative’s start in what is known as the ‘media res’, Latin for ‘in the middle’.The term ‘Fabula’ is used to describe a chronical series of events, as the diagram above demonstrates.‘Syuzhet’ describes everything visible and present in terms of order, manner and techniques of presentation.The diagram is generally made up of three aspects. These include; Inferred events, explicitly shown events and non-diegetic material.

a)Inferred events

b)Explicitly shown events

c)Non-diegetic material

STORY (What happens)

PLOT (How we see what happens)

Tim O’Sullivan et al argues that all media texts tell us some kind of story.

Through careful mediatation, media texts offer a way of telling stories about ourselves – not usually our own personal stories but the story of us as a culture or set of cultures.

Narrative theory sets out to show that what we experience when we ‘read’ a story is to understand a particular set of constructs, or conventions and that it is important to be aware of how these constructions are put together. The way in which this is achieved gives an insight into the ideologies of societies at that particular point in time.

Tim O’Sullivan et al, 1998

Outlook on Narrative

Tim O’Sullivan et al (1998) suggested that all narratives have a common structure, beginning with the establishment of a certain plot or theme.

This is then followed by the development of the problem, an enigma (Ronald Barthes 1997) or an increase in tension.

Finally, a resolution is reached where a new equilibrium is obtained.

Such narratives can be unambiguous (having only one meaning) and linear.

Key terms surrounding Narrative ‘Diegesis’ concerns the fictional space and time implied by the narrative,

or basically the world in which the story takes place. This is kept realistic in the construction of most media texts, however is not required within music videos.

‘Verisimilitude’ is required to create realistic ideas allowing the viewer to engage with the video. This is constructed following the rules of continuity, temporal and spacial coherence. When maintained and kept consistent, continuity is induced within that particular media text.

Continuity editing is still used regardless of the realism of the diegesis or lack of verisimilitude.

‘Conventional Syntax’ makes up an essential element of continuity editing. An example of this would be an establishing shot in the beginning, shot reverse shots and eye-line matches. Another example would be the display of time passing through a montage sequence. This is used to establish narrative, inducing temporal and spacial awareness.

However, despite the above, narrative is developed through the inclusion of individual aspects displaying messages and ideas to the viewer.

Structure of classic narrative system: According to Pan Cook (1985), the standard Hollywood

narrative structure should include: Linearity of cause and effect within an overall trajectory of enigma

resolution. A high degree of narrative closure. A fictional world which contains verisimilitude especially governed

by spatial and temporal coherence.

Todorou’s Narrative Theory

This theory basically states that all media texts featuring story or narrative follow the same pattern or path. This consists of the five following stages- 1- Equilibrium (The beginning stage at which everything is

normal) 2-Protagonist and antagonist cause a disruption 3-Quest/ realisation of the problem 4-Resolution to the problem (Restored order) where the

characters attempt to fix the problem. 5-Re-equilibrium where everything is okay again but with a

change in plot to that in the beginning.

Narrative structure follows a cause and effect pattern implying that situations change.

Barthes (1997)

Barthes suggested that narrative is built through the five codes while the enigma code creates problems or puzzles for the audience.

The action code is based upon our cultural and stereotypical understanding of actions, acting to advance the narrative in a discreet way.

Adrian Tilley (1991)

Tilley used the buckling of the gun belt in the Western genre as a means of signifying the preferred reading of an imminent shoot out, and this works in the same way as the starting of a car engine.

Kate Domaille (2001)

Suggests that every story ever told can be categorised by one eight narrative types. Each has a source and an original story upon which all others are based. These are as follows: ACHILLES – The fatal flaw which leads to the destruction of the previously or

almost flawless person. Eg- Superman, Fatal Attraction. CANDIDE – The indomitable hero who cannot be put down. Eg- Indiana

Jones, James Bond, Rocky, etc. CINDERELLA – The dream comes true. Eg- pretty woman CIRCE – The chase, the spider and the fly, the innocent and the victim. Eg-

Smokey And The Bandit, Dust, The Terminator. FAUST – Selling your soul to the devil may bring riches but eventually your

soul belongs to him. Eg- Bedazzled, Walt Street. ORPHEUS – The loss of something personal, the gift that is taken away, the

tragedy of losses or the journey which follows the loss. Eg- The Sixth Sense, Love Story, Born on the Forth of July.

ROMEO AND JULIET – The love story. Eg- titanic. TRISTAN AND ISEULT – The love triangle, man loves woman, unfortunately

one or both of them are already spoken for, or a third party intervenes. Eg- Casablanca.

Claude Levi Strauss (1988)

Narrative theory reflects on his belief that all stories operated to clear binary oppositions. Eg- good vs evil, black vs white, rich vs poor, etc.

The importance of these ideas is that essentially a complicated world is reduced to a simple either/ or structure. Things are either right or wrong, good or bad. There is no in-between.