Narrative Theory

Structuralism has been very powerful in its influence on narrative theory. Its main virtue is that it is most interested in those things that narratives have in common, rather than in the distinctive characteristics of specific narratives.

Thompson makes a distinction between a narrative which may be regarded, broadly speaking, as a communication which ‘tells a story’. The story generally consists of characters and a succession of events, combined in a way which displays a certain orientation or ‘plot’. As such, narrative is the overall structure involved in communication, which can be broken down into: ‘story’ and ‘plot’.

1. Tztevan Todorov (Tripartite narrative structure):

A really good way to think about NARRATIVE STRUCTURE is to recognise that most stories can be easily broken down into a BEGINNING / MIDDLE / END. The Bulgarian structuralist theorist Tztevan Todorov presents this idea as:

• Equilibrium
• Disruption
• New equilibrium

2. Vladimir Propp (Character Types and Function) STOCK CHARACTERS to structure stories

CHARACTERS FUNCTION TO PROVIDE NARRATIVE STRUCTURE:

1. Hero
2. Helper
3. Princess
4. Villain
5. Victim
6. Dispatcher
7. Father
8. False Hero

Seymour Chatman: Satellites & Kernels

• Kernels: key moments in the plot / narrative structure
• Satellites: embellishments, developments, aesthetics
• This theory allows students to break down a narrative into 2 distinct elements. Those elements which are absolutely essential to the story / plot / narrative development, which are known as KERNELS and those moments that could be removed and the overall logic would not be disturbed, known as SATELLITES. Think about the way satellites orbit something bigger like a planet. Satellites can therefore be thought as useful to develop character, emotion, location, time and so on, but NOT ESSENTIAL. In this way they are really useful creative elements but not essential to the story.

Roland Barthes: Proairetic and Hermenuetic Codes

• Proairetic code: action, movement, causation
• Hermenuetic code: reflection, dialogue, character or thematic development
• Enigma: the way in which intrigue and ideas are raised – which encourage an audience to want more information. (creates puzzels/questions)

Although the words proairetic and hermenuetic may seem very complex, it is easy for students to grasp in that moving image products are either based around ‘doing’ / ‘action’ or ‘talking’ / ‘reflection’. Look at this sequence from Buster Scruggs (Dir J Coen E Coen 2018), which is basically divided into ‘some talking’ (hermenuetic codes) which leads into ‘some doing’! (proairetic codes)

Key words: Elision- Ellipsis where you miss things out

time often moves backwards (flashbacks) or forwards (flash forwards) at moments which break the linear sequence. 

Time can also run simultaneously, in that it is possible to play-out different narratives at the same time: simultaneous or parallel narratives. 

Narrative strands are even able to be flagged up as something that needs to known (or will be fully developed) later, known as foreshadowing. This raises the concept that the audience are then given some information, feelings, ideas or logic that the on-screen actors do not have access to, which is called dramatic irony.

As such, some elements may emerge and play out but actually turn out to be of little value, meaning or consequence to the overall / main parts of the narrative – these can be called non-sequitars. Nevertheless, the use of light & shade is very important in terms of constructing an effective and enjoyable narrative.