Introduction to Film Narrative Theory Classic Hollywood Narrative Thompson’s Turning Points Hero’s Journey Barthes Narrative Codes Booker’s 7 (or 9) Basic Plots

Classic Hollywood Narrative At the beginning the WORLD OF THE FILM or the STATUS QUO is established usually through the introduction of the characters of the main HERO(INE). Their world is disrupted in some way with problems, enigmas or CONFLICTS for the hero(ine) to overcome. The story continues as the hero(ine) attempts to restore normality and RESOLVE the conflicts. Eventually these conflicts are worked out and a new WORLD OF THE FILM or NEW STATUS QUO is established. Usually it is the RESOLUTION of these conflicts from which the audience get pleasure otherwise the film would be judged to be a failure.

Narrative Structure: 4-Act Model 4 acts of approximately equal length with turning points. May also be prologue and/or epilogue. (Prologue) Setup Turning Point 1 Complicating Action Turning Point 2 Development Turning Point 3 Climax (Epilogue) (Kristin Thompson)

Hero’s Journey Narrative

Narrative Structure: The Hero’s Journey 1 THRESHOLD OF ADVENTURE Call to Adventure Helper Tests Elixir Flight Threshold crossing Brother-battle Dragon-battle Dismemberment Crucifixion Abduction Night-sea journey Wonder journey Whale's belly Helpers Return Resurrection Rescue Threshold struggle 1. Sacred Marriage 2. Father Atonement 3. Apotheosis 4. Elixir Theft Joseph Campbell, “The Hero with a Thousand Faces”

Narrative Structure: The Hero’s Journey 2

Elements of Hero’s Journey 1 Ordinary World Call to Adventure Crossing the Threshold Tests, Allies, Enemies Refusal of Call Meeting the Mentor

Elements of Hero’s Journey 2 Approach the Inmost Cave The Ordeal Road Back Resurrection Reward Return with Elixir

Barthes Narrative Codes Barthes used five codes to aid him in the analysis of film sequences; enigmatic, action, semic, referential and symbolic Enigmatic code: questions posed and their eventual resolution (or non-resolution); minor enigmas e.g. who is this new character?; major enigmas e.g. will the hero(ine) defeat the monster? Action code: certain actions are coded so that the reader immediately understands what is happening (e.g. in film look in rear-view mirror means character thinks she is being tailed)

Barthes Narrative Codes 3 Semic code: visual or sound units of meaning (semes) and their connotations Referential code: references to knowledge e.g. other art works, media, history, geography, politics, architecture, fashion, social conventions, etc. Symbolic code: major structuring themes of the text often expressible in binary opposites and expressed through characters, actions, setting, style, sound, etc.

Narrative Codes 4 Colin McArthur suggests two other codes: Cinematographic codes: codes of cinematography, mise-en-scène, editing, sound Absence code: where something remains unspoken or unvisualised e.g. due to ideological reasons or censorship (e.g. implicit rather than explicit violence)

Booker’s 7 (or 9) Basic Plots Overcoming the monster Rags to Riches Quest Voyage and Return Comedy Tragedy Rebirth + Rebellion against ‘The One’ Mystery

Booker’s 5-stage structure Underlying structure moves between constriction and expansion: Hero constricted Hero on road to fulfilment Hero constricted by strength of dark power and own limitations Final confrontation Reversal and liberation – grip of darkness broken