1. 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

2. 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.

3. 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)

4. Hero’s Journey Narrative

5. 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”

6. Narrative Structure: The Hero’s Journey 2

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

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

9. 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)

10. 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.

11. 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)

12. 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

13. 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