2. TODOROV’S THEORY OF
NARRATIVE
• Tzvetan Todorov Introduces the idea of a ‘classic’ narrative which writers and directors
conform to even today. In simpler terms meaning all stories have a beginning, middle and
an end.
• For a story to be successful it must consist of:
• A state of equilibrium: when there is balance and
harmony.
• A moment of disequilibrium: the equilibrium is
disrupted and a string of negative occurrence begin.
• A period of disequilibrium: constant problems and
struggles that the protagonist has recognised and
will attempt to restore the happiness.
• Attempt to establish the new equilibrium: usually
the last scenes of a film where there is a big finish
between the protagonist and antagonist (e.g. a hero
fights the villain).
• Return to a new equilibrium: a new start for the
protagonist.
• Tzvetan Todorov also believed that no 2 equilibriums are the same as the characters would
either have gained or lost something on their way towards the new equilibrium.

3. Vladimir Propp was a folklorist who introduced the idea that there is only 31 storylines
which will always seem to repeat themselves.
There are only a limited number of character types in texts and we can transpose
these to film.
PROPP’S 7 CHARACTER TYPES
The Donor- The person that prepares the
hero for their journey and give him/her a
“magical object”.
The villain- Usually the
antagonist and fights the
hero (loses).
The False Hero- Pretends
to be the hero (the jock
boyfriend in a horror).
The Princess/Prize- The person
which the hero marries and
others sought after.
The Dispatcher- Picks the
hero up and sends him off.
The Helper- Accompanies the hero on
their quest.
The Hero/victim- reacts to the donor, fights
villain and gets the prize.

4. Claude Levi Strauss explained that a constant creation of conflict/opposition propel
narrative. The narrative can only end on a resolution of conflict.
STRAUSS’ BINARY OPPOSITES
Opposition can be conceptual
Love Vs. Hate
Control Vs. Panic
Opposition can be visual
Light Vs. Darkness
Movement Vs. Stillness

5. Roland Gerard Barthes wrote a book which had 2 sections. Plaisir and Jouissance
(French for ‘pleasure’ and ‘orgasm’), explained the idea that the audiences can often
guess what is going to happen in most mainstream films and seeing this play our is the
pleasure they get from the text. An example of this would be, knowing that there will
be an explosion in a ‘Bruce Willis’ film or a character surviving at the end of a horror
film. It also explains that there is another layer of pleasure on top if the unexpected
happens, if there is an enigma code.
BARTHES’ PLEASURE OF TEXT
The enigma code is the use and set up
of texts whether it is televised, on
posters or films. They are done to ask
questions and grab the audience’s
attention and make them question the
text. For example, There wasn’t a solid
reveal of the villain in ‘Saw’ until the
next film.

6. Sigmund Freud was concerned with how the mind subconscious work. He believed
that it was structured into 3 parts, the ID, EGO and SUPEREGO.
FREUD’S PSYCHOANALYSIS
THEORY
ID: The Pleasure principle- the most irrational and
emotional part of the mind. If the ID is too strong, the
person is uncaring and seeks self gratification.
EGO: The Reality principle- the rational part of the
mind. If the EGO is too strong, the person is
extremely rational and efficient but can be cold and
distant from others.
SUPEREGO: The value principle- The morality
of the mind. Someone who seeks perfection and may
grow into a insufferably saintly personality, are those
with too much SUPEREGO.

7. Carol Clover wrote a book called ‘Men, Women and Chainsaws’. In the book she
argues that the audience are structurally forced into identifying with the resourceful
surviving female, therefore making the audience masochistic voyeurs. The theory she
had helped create awareness of gender division in films and that is now called the
‘Final Girl’ theory.
CLOVER’S FINAL GIRL THEORY
Some characteristics of a ‘Final Girl’
are:
•Unisex name and wears light/white or
unattractive more masculine clothing.
•Becomes masculine in final altercation with
the villain by ‘phallic appropriation’ by taking
hold of a weapon (e.g. knife).
•Usually a virgin or sexually unavailable as
the price to pay for beauty or sexual
availability is death.