A2 Media Theory

1. 1B) NARRATIVE
Theoretical Evaluation of Production

2. Bordwell & Thompson, 1978
This model above shows how narrative works within media texts. It resolves around the
concept of story and plot combining to form structure. Most narrative’s start in what is
known as the ‘media res’, Latin for ‘in the middle’.
The term ‘Fabula’ is used to describe a chronical series of events, as the diagram above
demonstrates.
‘Syuzhet’ describes everything visible and present in terms of order, manner and
techniques of presentation.
The diagram is generally made up of three aspects.These include; Inferred events,
explicitly shown events and non-diegetic material.
a)
Inferred events
b)
Explicitly shown events
c)
Non-diegetic material
STORY (What happens)
PLOT (How we see what happens)

3.  Tim O’Sullivan et al argues that all media texts tell us some kind of story.
 Through careful mediatation, media texts offer a way of telling stories about
ourselves – not usually our own personal stories but the story of us as a culture or set
of cultures.
 Narrative theory sets out to show that what we experience when we ‘read’ a story is
to understand a particular set of constructs, or conventions and that it is important to
be aware of how these constructions are put together.The way in which this is
achieved gives an insight into the ideologies of societies at that particular point in
time.
Tim O’Sullivan et al, 1998

4. Outlook on Narrative
 Tim O’Sullivan et al (1998) suggested that all narratives have a
common structure, beginning with the establishment of a certain
plot or theme.
 This is then followed by the development of the problem, an enigma
(Ronald Barthes 1997) or an increase in tension.
 Finally, a resolution is reached where a new equilibrium is obtained.
 Such narratives can be unambiguous (having only one meaning) and
linear.

5. Key terms surrounding Narrative
 ‘Diegesis’ concerns the fictional space and time implied by the narrative, or basically
the world in which the story takes place.This is kept realistic in the construction of
most media texts, however is not required within music videos.
 ‘Verisimilitude’ is required to create realistic ideas allowing the viewer to engage with
the video. This is constructed following the rules of continuity, temporal and spacial
coherence. When maintained and kept consistent, continuity is induced within that
particular media text.
 Continuity editing is still used regardless of the realism of the diegesis or lack of
verisimilitude.
 ‘Conventional Syntax’ makes up an essential element of continuity editing. An
example of this would be an establishing shot in the beginning, shot reverse shots
and eye-line matches. Another example would be the display of time passing through
a montage sequence. This is used to establish narrative, inducing temporal and
spacial awareness.
 However, despite the above, narrative is developed through the inclusion of individual
aspects displaying messages and ideas to the viewer.

6. Structure of classic narrative system:
 According to Pan Cook (1985), the standard Hollywood narrative
structure should include:
 Linearity of cause and effect within an overall trajectory of enigma resolution.
 A high degree of narrative closure.
 A fictional world which contains verisimilitude especially governed by spatial and
temporal coherence.

7. Todorou’s Narrative Theory
 This theory basically states that all media texts featuring story or
narrative follow the same pattern or path.This consists of the five
following stages-
 1- Equilibrium (The beginning stage at which everything is normal)
 2-Protagonist and antagonist cause a disruption
 3-Quest/ realisation of the problem
 4-Resolution to the problem (Restored order) where the characters attempt to fix
the problem.
 5-Re-equilibrium where everything is okay again but with a change in plot to that
in the beginning.
 Narrative structure follows a cause and effect pattern implying that situations
change.

8. Barthes (1997)
 Barthes suggested that narrative is built through the five codes
while the enigma code creates problems or puzzles for the audience.
 The action code is based upon our cultural and stereotypical
understanding of actions, acting to advance the narrative in a
discreet way.

9. Adrian Tilley (1991)
 Tilley used the buckling of the gun belt in theWestern genre as a
means of signifying the preferred reading of an imminent shoot out,
and this works in the same way as the starting of a car engine.

10. Kate Domaille (2001)
 Suggests that every story ever told can be categorised by one eight
narrative types. Each has a source and an original story upon which all
others are based.These are as follows:
 ACHILLES –The fatal flaw which leads to the destruction of the previously or almost
flawless person. Eg- Superman, Fatal Attraction.
 CANDIDE –The indomitable hero who cannot be put down. Eg- Indiana Jones, James
Bond, Rocky, etc.
 CINDERELLA – The dream comes true. Eg- pretty woman
 CIRCE – The chase, the spider and the fly, the innocent and the victim. Eg- Smokey And
The Bandit, Dust,TheTerminator.
 FAUST – Selling your soul to the devil may bring riches but eventually your soul
belongs to him. Eg- Bedazzled,Walt Street.
 ORPHEUS – The loss of something personal, the gift that is taken away, the tragedy of
losses or the journey which follows the loss. Eg-The Sixth Sense, Love Story, Born on
the Forth of July.
 ROMEO AND JULIET – The love story. Eg- titanic.
 TRISTAN AND ISEULT – The love triangle, man loves woman, unfortunately one or
both of them are already spoken for, or a third party intervenes. Eg- Casablanca.

11. Claude Levi Strauss (1988)
 Narrative theory reflects on his belief that all stories operated to
clear binary oppositions. Eg- good vs evil, black vs white, rich vs
poor, etc.
 The importance of these ideas is that essentially a complicated
world is reduced to a simple either/ or structure.Things are either
right or wrong, good or bad.There is no in-between.