Blog Task 7

Propp's theory on narrative characters: The Hero – a character that seeks something The Villain – who opposes or actively blocks the hero’s quest The Donor – who provides an object with magical properties The Dispatcher – who sends the hero on his/her quest via a message The False Hero – who disrupts the hero’s success by making false claims The Helper – who aids the hero The Princess – acts as the reward for the hero and the object of the villain’s plots Her Father – who acts to reward the hero for his effort

Todorov's theory: 1. The fictional environment begins with a state of equilibrium (everything is as it should be) (normality) 2. It then suffers some disruption (disequilibrium)(problem) 3. New equilibrium is produced at the end of the narrative (resolution)

Time Structures-

Anachronic modular narratives involve the use of flashbacks and/or flashforwards, with no clear dominance between any of the narrative threads. These narratives also often repeat scenes directly or via a different perspective. Examples include: Pulp Fiction and Memento.

Forked narratives juxtapose alternative versions of a story, showing the possible outcomes that might result from small changes in a single event or group of events. The forking-path narrative introduces a number of plotlines that usually contradict one another. Examples include Groundhog Day and Run Lola Run.

Episodic narratives are organised as an abstract series or narrative anthology. Abstract series type of modular narrative is characterized by the operation of a non- narrative formal system which appears to dictate (or at least overlay) the organization of narrative elements such as a sequence of numbers or the alphabet.

Anthology consists of a series of shorter tales which are apparently disconnected but share a random similarity, such as all ‘episodes’ being survivors of a shipwreck.

Split screen narratives are different from the other types of modular narrative discussed here, because their modularity is articulated along spatial rather than temporal lines. These films divide the screen into two or more frames, juxtaposing events within the same visual field, in a sustained fashion. Examples include Timecode.

Barthes Codes

Hermenuetic Code

This is part of any story which is unexplained and creates a mystery. We call this an enigma which gains the audience's attention by persuading them to think about what the mystery is and how it can be solved.

Proairetic Code

This code is the intense interest which the audience can't fight which is triggered by an action. For example, a man is being chased and gets cornered in an alley. We wonder, what will happen? Our minds scan over countless possibilites almost instantly; will he escape, will he die, will he fend off his pesuers?! It is this code which is the culprit for causing this thought process.

A perfect example of the proairetic code can be seen in this extract from The Bourne Supremacy. The car chase increases with tension and intensity until it reaches it's conclusion which is a crash in an underground tunnel. As Jason gets out an approaches the Mercedes we begin to wonder; Is the other driver alive? Will Jason have to kill him or be killed? Could the car explode? Will the police arrive? Will the rest of the enemy catch up with Jason? This code is crucial in creating extreme tension in these parts of films.



Semantic Code

Semantic Code: The Semantic Code refers to elements of the text that carry referential, extra-literal meaning. Elements of the Semantic Code are called Semes. In the starred reading, the Semantic Code is represented as SEM.

Seme: A seme is an element of the Semantic Code. The seme has a connotative function in the text. It has an extra layer of meaning in addition to its literal meaning. An example of this would be saying something and meaning something else.

Symbolic Code

Symbolic Code: The Symbolic code refers to organized systems of semes. When two connotative elements are placed in opposition or brought together by the narrator, they form an element of the Symbolic Code. In the starred reading, the Symbolic Code is represented as SYM.

This code is aptly explained by character Vance Munson in this extract from "Hitch". At 2:07 in the clip he explains him imagine by saying "Power suit, power tie, power steering". He is referring to his image that, he believes, symbolises all of these things.



Cultural Code

Cultural Code: The Cultural Code refers to anything in the text which refers to an external body of knowledge such as scientific, historical, and cultural knowledge. In the starred reading, the Cultural Code is represented as REF.

This code can be seen in this extract in which the BBC or analyzing comments made by Jeremy Clarkson. They explain how people are outraged at the crude remarks Clarkson made on BBC's: The One Show. During the show he exclaimed that those going on strike should be "shot in front of their families". This alone is a disgusting comment which would sicken anyone. However, it also runs deeper as those with an adequate knowledge of World War 2 will know that thousands of Jews were actually subjected to such brutality. Therefore as the scenario he is trying to make humorous has actually happened on a massive scale in recent history, the audience would be all the more angered than at the initial comment alone.

Narrative task

Narrative Exercise 1. Start with a mid shot of a calendar on a wall that has recently being painted with the year on it, and then go to a shot that has the same calendar but the date 100 years later and the paint being all flakey on the wall. 2. A long shot of a house with the trees being very fresh and making it look like spring, then move onto summer very bright the trees very green, then go into autumn with the wet weather and the orange leaves on the trees, then onto winter with the snow and no leaves on the trees. 3. Changing between seasons, putting a message at the bottom of the screen saying “1 year later” or going from someone’s 50th birthday to their 51st birthday. 4. Start at night with the man being sat in a chair with a digital clock in shot, go 12 hours into the future when it is light, then go another 12 hours into the future when it is dark again. 5. Show a man falling asleep then make the camera zoom into his head and the next scene have a blurry effect on it to make the audience know that it is a surreal situation and that its not real life. 6. Have music playing in the background and have a series of shots that make up a montage type scene where none of the characters in the shot are speaking so it makes it obvious it is a voice over.

blog task 6