Narrative Theory Animation

This is a film that we created to demonstrate what we have learnt about narrative theory:

Narrative Theory

• In a narrative there must be a beginning, middle and end so that the information given makes sense 
• The story is the content of the film and the narrative is how it's arranged
• Narrative does not have to be chronological, for example trailers show narrative but not in a chronological order
• Narrative is important for controlling how the audience feels for example a film can show information from the end of the story at the beginning of the narrative which can alter audience feelings toward different aspects of the film
• Narrative is important for controlling how the audience feels – e.g. showing information (e.g. the end) before can alter audience feelings towards certain aspects of the film

Syd Field 

• First ten minutes shows everything
• Three separate dramatic sections in narrative – the setup, confrontation and resolution     
• To move the action on from one act to another there are important pieces of plot that change the lives of the characters 

Aristotle

•       Unity’ of time, place and action moving towards a logical, moral conclusion

  

Freytag

•     Every story is divided into five parts – exposition, rising action, climax, falling action & denouement / catastrophe / resolution.

Levi-Strauss 

•      Binary opposition – narrative tension is based on opposition or conflict
•      Sometimes functions at an ideological level. 
•      Narrative is based around opposites

Barthes 

•      Enigma Code – narrative functions to set up and then solve puzzles – enigmas set up throughout the film
•      Films are open to different interpretations – looking at an event from different points of view to be considered – many different characters with own perspectives. Different points of view are called narrative codes – categorised

Todorov

•     Basic structure for all narratives – equilibrium (everything is normal and ok), disruption (something happens to disrupt the calm), recognition (recognising that something needs to be done), repair (attempting to put things right) and re-instatement of equilibrium (everything ok again).

Vladimir Propp

•      Characters take on the role of narrative functions – hero, heroine, villain, mentor and sidekick
•      Theories such as Aristotle and Propp can be seen to be outdated sometimes

Narrative Conventions

·      Look at conventions of genre, character, form and time

·      Time = important – narratives do not take place in real time

-       Many conventions used to denote time passing

-       Devices that manipulate time; flashbacks, dream sequences, repetition, different characters POV, flash forwards, real time interludes, pre-figuring events

·      Location – sets of conventions associated with genre or form 

WATCH:
 NARRATIVE THEORY ANIMATION

Thriller Conventions

Typically:

Thrillers include quick cuts and camera angle changes, music that gives tension, usually blue wash, cold colours, use of showers, mirrors and stairs, dark setting, blurred imagery, death, suspense, under lighting of the face to make them look scary, low key lighting.

Generic feature of a thriller is entrapment. Thus claustrophobic spaces are a key generic signifier in thriller.

The narrative centres on a crime eg. theft or a murder. The protagonist is fallible and has an 'Achilles heel' that is exploited by the antagonist.

The title of the thriller may relate to this weakness eg Vertigo and Insomnia.

The protagonist will be seen 'in peril' in one or more scenes before the resolution.

The antagonist ensnares the protagonist in an increasingly complex web, until the protagonist feels isolated and helpless.

The narrative presents ordinary situations in which extraordinary things happen.


Micro elements combine in a build-up of suspense using camerawork, sound, narrative, genre, mise-en-scene, lighting, costumes, actors and facial expressions, etc. Themes of identity are common: mistaken identity, doubling/doppelgangers, amnesia.


Themes of seeing, reflection and mirroring. Manipulation of perspectives, visual McGuffins, and optical illusions are common.


The audience of a thriller is placed in the ambiguous position of voyeur. Voyeurism can also be a theme and the objectification of female characters is common especially in earlier thrillers.


A series of/ one important enigma(s) are/is set up in the opening sequence of the film, is further complicated during the first part of the film and only resolved at the very end.

Conventions of a Dystopian Thriller Film

• Purpose is to discuss society rather than depict society, explore, debate and criticise
• Main motifs include oppression and rebellion
• Oppressors are usually face-less and not personified
• Oppressors are usually more powerful that the rebels
• Hero often faces utter defeat
• Dystopian citizens experience a profound feeling of being monitored, shadowed, chased, betrayed or manipulated
• The protagonist is usually a brave male who seeks to remove injustice or save an innocent female whose life is in danger
• Usually based on things most feared by society - audience can relate to them 
• Themes of thriller typically include terrorism, political conspiracy and the paranormal 
• The protagonist is often unknowing that they are in a potentially dangerous situation 
• Plots involve conflict with other characters or outside forces

We intend to use as many of these as we can