Film Studies FM2 Narrative

Learning Intentions Narrative Theory Understand audience positioning Understand narrative structure Understand what factors drive narrative

Positioning the Audience Who’s Story Is It?

Responding to Characters EmpathySympathy Feel with the character Reaction Shots Eye Line Matches Camera Movement Audience in same space Feel for the character Observed by camera Distanced from the action

The Narrator Omniscience, Trust and Agenda

The narrator / storyteller Are we aware of a storyteller with a voice(over) Is the story teller a character in the narrative? Where & when is the storyteller How does a voiceover commentary add to our understanding of the action / characters & themes? Do we trust the storyteller? Does the storyteller betray our trust?

Structure Beginning, Middle & End

The Three Act Structure Act 1Act 2Act 3

The Three Act Structure Act 1 (Exposition) Introduce the main character, sets up conflicts which is the story of the film. At the end is the catalytic moment where the equilibrium is disrupted

The Three Act Structure Act 2 (Disequilibrium / Climax) Explored the consequences of the catalytic moment. This is usually the protagonist struggling to restore the equilibrium of the diegesis.

The Three Act Structure Act 3 (Denouement) With one final revelation /moment of crisis / conflict the story is resolved (a new equilibrium created) and the audience is told the outcomes. The themes should be evident in the denouement

Classic 3 Act Narrative Structure Equilibrium/ Exposition Disruption Disequilibrium/ Climax Revelation Equilibrium/ Denouement Narrative Organisation Time

Driving the Narrative Events / Relationships

Plot driven / Character Driven Plot (events) sparks the narrative Character (relationships) drive the narrative

Driving the Narrative Narrative Journey

Narratives are Journeys Screen stories are character journeys – we see someone trying to get what they want or need, and hurdles stand in their way. What is a character’s dramatic need? What does the character want to win, gain or achieve during the course of the narrative? Internal journeys – Making an important realisation about themselves External journeys - Literally moving or travelling to a new place

Conflict Binary Opposition (Levi-Strauss)

Binary Opposition Conflict Driving the Narrative ProtagonistAntagonist FuturePast CivilisationSavagery The PoliceCriminals AgeYouth EqualityInjustice LoveAppearances SearchingFinding BetrayalRedemption EntrapmentFreedom LossDiscovery

Narrative Range Restricted / Unrestricted

Restricted Narrative Range Doesn’t reveal all the narrative information to the audience Such as in thrillers Events in the narrative which are unexplained are called ‘enigma codes’ Which will be explained later in the narrative In thrillers this is called the twist This opens the text to multiple readings, which is pleasurable for the audience

Unrestricted Narrative Range Gives the audience privileged position and we are privy to all narrative information / character motivations Such as in melodrama The audience’s overview of important facts leads to a heightened emotional response through the revelation of that information to ignorant characters Dramatic irony relies on unrestricted narratives

Barthes Understanding Narrative

Barthes & Narrative Narrative Codes ExplanationExample The Enigma Code Puzzles to be solved.Harry Potter’s lightening scar. The Action Code Actions which progress the narrative. Behaviour /actions and their consequences. DVD – the chapter titles The Symbolic Code A visual metaphor Often used to symbolise opposition A fence between two characters may symbolise their emotional distance / conflict. The Semic Code Connotation of characters, objects or settings that suggest meaning A red dress worn by a female character is likely to suggest her sexuality and/or danger. The Cultural Code Culturally specific knowledge which makes meaning in a text. ‘Big Ben’ references the heart of political power in the UK.