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Narrative Theory

  • Kernels: key moments in the plot / narrative structure
  • Satellites: embellishments, developments, aesthetics

Roland Barthes:

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

Genre

A genre is a type/category of art, media or literature. It comes from the French word meaning ‘kind’ or ‘sort’. Genre rests around a relationship between similarities and differences. Genres are very important to institutions and audiences.

saddled with conventions and stereotypes, formulas and
clichés and all of these limitations were codified in specific genres. This was the very foundation of the studio system and audiences love genre pictures
– Martin Scorcese, a personal journey through American cinema (1995)

Genres are the same, but different at the same time.

Internal Structural Analysis

Narratives are based on binary oppositions. A dominant ideology of the film is created, so people are able to make judgements. This can also determine weather the narrative is reactionary or radical.

ConceptStrongly
agree
AgreeNeutralAgreeStrongly
agree
Opposite
concept
GoodXBad
WhiteXBlack
MaleXFemale
UrbanXRegional
PoorXRich
EducatedXUneducated
PositiveXNegative
ProtestingXAccepting
SmartXSimple
YoungXOld
EmployedXUnemployed

Paul Gilroy Notes

  • Explores the construction of racial ‘otherness’ as an underlying presence within print media reportage during the 1970s and the 1980s.
  • Argues that criminalised representations of black males regularly stigmatised the black community.
  • Shifted his attention during the 1990s to consider the mass-media constructions of British identity in post-industrial Britain.
  • Studied the importance of black representation. ‘There ain’t no black in the Union Jack’ relates back to the race relations from the Second World war. Thus where the poster-war wave of immigration from the West Indies produced a series of worries and anxieties regarding immigrant behaviour. The black community are constructed as a racial ‘other’ in the predominantly white world of 1950s Britain. There were worries that immigrant communities would swamp / take over white Britain. These fears were further noted in the news in late 1970s and 1980s and routed the black community with assaults, muggings and other violent crimes.

Reggae: the sound that revolutionised Britain:

It was punk’s “Summer Of Hate”, 1977, and the required pose was a sneer, a leather jacket and something hacked about – a spiky haircut, a ripped T-shirt, a sawn-off school tie. And, of course, no flares, the despised flag of hippiedom. But at the cold, concrete roots of Britain a very different aesthetic was also in the ascendant, one calling for an oversized tam, dreadlocks and a display of “the red, gold and green”, the colours of Rastafari.

In reggae terms, it had taken the emergence of Bob Marley to effect the uneasy coalition of rock fans, black youth, lofty Rastas and proto-punks that confronted each other at his celebrated 1975 Lyceum shows. After Marley, reggae was taken seriously as music of substance and innovation, where previously it had been treated at best as a novelty or simply ridiculed.

Ghost Town CSP

  • Cultural resistance
  • Cultural hegemony
  • Subcultural theory

Criticism The Birmingham School’s subcultural theory:
● Focused on white working class masculinity
● Ignored ethnic minority, female and queer youth cultures

What is a subculture?
● Working-class youth culture
● Unified by shared tastes in style, music and ideology
● A solution to collectively experienced problems
● A form of resistance to cultural hegemony

Post-War British Race Relations:
● To understand the political significance of black music in the 1970s and 1980s, we
must first understand the racial situation in post war Britain.
● After WW2, many Caribbean men and women migrated to Britain seeking jobs.
They were faced with racism and discrimination, and found it difficult to find
employment and housing.
● During the 1970s and 1980s, the children of these Caribbean immigrants were
reaching adulthood. They were subject to violence and discrimination from both
the state and far right groups. However, they more likely to resist the racism of
British society compared with their parents.

Vladimir Propp

Stories use STOCK CHARACTERS to structure stories

Suggests that all stories draw on familiar characters performing similar functions to provide familiar narrative structures.

The way in which CHARACTERS FUNCTION TO PROVIDE NARRATIVE STRUCTURE:

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

‘These are not separate characters, since one character can occupy a number of roles or ‘spheres of action’ as Propp calls them and one role may be played by a number of different characters’

Stock character’s roles can be organised into

  1. PREPARATION
  2. COMPLICATION
  3. TRANSFERENCE
  4. STRUGGLE
  5. RETURN
  6. RECOGNITION

Moving image NEA

Things needed to create a film:

  • Camera
  • Microphone
  • Actors
  • Set
  • Story
  • Script
  • Props
  • Sound
  • Lighting
  • Money
  • Directors
  • Producers
  • Post-production team
  • Camera operators

Aristotle:

  • Catharsis = Idea that we are freed by consuming something.
  • Peripeteia = A change in fortune
  • Anagnorisis = A moment of dramatic revelation

Narrative structures and internal elements :

  • Chronological – Generally, films are structured in a straight line, linear narrative in which the events are sequenced in order of time.
  • Flashbacks/ Foreshadowing
  • Ellipsis
  • Parallel Narrative
  • EXPOSITION —> CLIMAX —> DENOUEMENT
  • Protagonist and Antagonist

Todorov

  • the stage of equilibrium
  • the conflict that disrupts this initial equilibrium
  • the way / ways in which the disruption looks to find new equilibrium
  • the denouement and/or resolution that brings about a new equilibrium
  • condensed equilibrium has a much lower boredom threshold so action is expected to be delivered quickly
  • anachronic devices are flashes forwards or backwards in time to help develop the story
  • multiperspective narratives show numerous character’s viewpoints during a time of disequilibrium
  • unreliable narration where the audience is deceived deliberately

Some Definitions:

Construction of reality: The way we present ourselves to other people is shaped partly by our interactions with others, as well as by our life experiences.

Repertoire of elements: When an audience consume a media text defined by a generic label they have certain expectations of the text.

Reinforced: Strengthened (existing feeling, idea or habit)

Historically specific: Historical people, situations, or things existed in the past and are considered to be a part of history.

Verisimilitude: The appearance of being true or real.

 Realism: The quality or fact of representing a person or thing in a way that is accurate and true to life.

Blinded By The Light

  • Low-medium budget film-making product.
  • Example of UK/US production and distribution.
  • New Line Cinema (subsidiary of Warner Brothers Pictures) is an American production studio that funded the product’s creation.
  • The role of the use of Bruce Springsteen’s music in getting the film financed and in the marketing of the film
  • The use of film festivals in finding distribution deals for films
  • Use of traditional marketing and distribution techniques; trailers, posters, film festivals etc.
  • Marketing techniques such as use of genre, nostalgia, identity, social consciousness

David Hesmondhalgh

His book is ‘The Cultural Industries’ and it is about the relationship between media workers and the media industry. He talks about the vunerable and precarious career paths in the creative industry. Younger people are drawn into the celebrity-type lifestyle, not realising how much hard work has to go into it.

  • Hesmondhalgh argues that the creative industry is a risky business.
  • Products only exist as a result of their economic context.
  • Media business product patterns have to adapt to audience consumption patterns.

Key words/Definitions

  1. Cultural industries – Managed methods of making a profit.
  2. Production – The making process of media products.
  3. Distribution – The way media products are delivered to an audience.
  4. Exhibition / Consumption – Viewing of the product from an audience.
  5. Media concentration – Progressively fewer owners of a larger sum of the industry.
  6. Conglomerates – A company owning numerous mass-media enterprises.
  7. Globalisation (in terms of media ownership) – Production and consumption of media material on a global scale
  8. Cultural imperialism –
  9. Vertical Integration –
  10. Horizontal Integration –
  11. Mergers –
  12. Monopolies –
  13. Gatekeepers –
  14. Regulation –
  15. Deregulation –
  16. Free market –
  17. Commodification –
  18. Convergence –
  19. Diversity –
  20. Innovation –