Narrative Theory

The Narrative Theory
The definition of narrative is based on the latin word NARRE, which means 'to make known'. It is a story or account of events or experiences which are connected, sequenced and logically presented.

Each media product has a narrative focus, which usually follows traditional structures, while less-mainstream products often subvert them. For instance post-modern films, like Pulp Fiction and Memento, use a dis-jointed story structure and fragmented narrative. 

Aristotle

One of the first 'narrative theories', he felt that a narrative should be made within a 'unity' of time, place and action, i.e. it should all take place in the same location, in real time and will all the action moving towards a logical and moral conclusion. 

Tzvetan Todorov

He proposed a basic narrative structure. It begins with an initial situation - equilibrium, a calm period before the calm is disrupted creating a state of disequilibrium. Then there is a renewed peace bringing the chaos to close, ending with re-equilibrium. This is the simplest form of narrative. He also believed that we should look at the narrative form and different character perspectives. This reflects how the producers ideologies will outline the focus of the narrative and that different institutions and audiences have different expectations and intentions. 

Vladimir Propp

In 1928, Propp studied Russian fairytales, where he found that there was always 8 character types in stories. They are: the hero, the villain, the donor, the dispatcher, the anti-hero, the (magical) helper, the princess and her father. The characters can be a mix of these types e.g. the false hero could also be the villain. He also identified only 31 narrative functions for these characters. 

Claude Levi Strauss

Levi Strauss developed a narrative structure based on narrative tension from opposition or conflict. These Binary opposites are sets of opposite values which reveal the structure of media texts and work at an ideological level, e.g. good is the opposite of evil. Macro opposites would be a protagonist/antagonist and action/inaction. Micro opposites would be good looking/ugly and witty/humourless.

Roland Barthes

Barthe's identified many codes that the audience then decodes.
- Enigma code (where the narrative will establish enigmas and sets up questions as it goes along, which are then solved and answered later.)
- Semic Code (where events, characters, actions, settings etc have various meanings in different cultures.)
- Symbolic Code 
- Action Code (understood by cross reference to other narratives in our culture)
- Cultural Codes (understood through our interaction with the wider world.)


Exceptions to the Theory
Arthouse cinema doesn't always follow these theories. For instance, there isn't always a clear cause and effect relationship between events, the main protagonist doesn't always have a motive or screen time isn't always used for a narrative function. As short films have such little screen time, to make an impact there are usually few characters (thus against Propp's theory) and a scenario that is interesting or funny such as below...