In this blog post, I will be discussing research I have carried out surrounding narrative structures in film, specific theorists relating to this, and structures within short films specifically.
Three-Act Structure
The Three-Act Structure is an old principal used in all types of story telling. Essentially it means the story has a beginning, middle and end, though these are usually called:
Theorist #1- Todorov
Todorov identified traditional narrative theory by studying classic fairy tales and stories; he discovered that narratives move forward in chronological order with a clear beginning, middle and end, and suggested that characters are changed in someway at the end of the narrative. He called this a linear narrative.
Linear Narrative Steps:
Unconventional Narratives
Non-linear narratives and circular narratives have a more complicated structure; a non-linear narrative can move backwards and forwards in time, often using a flashback device (e.g. 'The Ellington Kid' by Dan Sully), and a circular narrative might begin at the end of a story and work its way back to the origins of the narrative, meaning the audience may only understand the full story a the end of the film (e.g. 'Slap' by Nick Rowland).
Theorist #2- Propp
Propp discovered that narrative is driven by characters using a set of narrative functions, and did this by analysing Russian folk tales. He discovered 8 different types of character:
The Hero -protagonist- (has a quest/mission to complete)
The Villain -antagonist- (attempts to stop the hero from achieving their goal)
The Princess (the love interest/object of the quest)
The Father (a person with knowledge)
The Dispatcher (who sends the hero on their mission)
The Donor (who gives the hero help)
The Sidekick (who helps the hero; not as attractive/potentially comic relief)
The False Hero (a villain pretending to be good to deceive the real hero)
Theorist #3- Levi-Strauss
Levi-Strauss examined how narratives unconsciously reflect the norms/values, beliefs and myths of a culture. He states that these elements are usually expressed in the form of binary oppositions; a pair of related terms or concepts that have opposite meanings. For example: rich/poor, north/south, good/evil, black/white, young/old.
Theorist #4- Barthes
Barthes discovered that narrative in literature and film is a series of 5 codes that are read/interpreted by the audience.
Action (Proairetic) Code: Something the audience knows that doesn't need explaining, e.g. we assume a person on a stretcher is going to the hospital
Enigma (Hermeneutic) Code: Something hidden from the audience, creating mystery and intrigue
Semantic Code: Something the audience can figure out through connotations and implications
Symbolic Code: Something symbolising a more abstract concept that can create a greater meaning, tension, drama or character development
Cultural (Referential) Code: Something viewed with understanding due to an external body of cultural/historical/scientific knowledge e.g. younger people may understand word that older people can't
Narrative in Short Films
In short films specifically, the narrative structure becomes more of an issue, as the director has a limited amount of time to tell their story. Therefore, there are normally two ways narrative in a short film will go; the director will either stick to a simple three-act structure, or experiment with a more unconventional narrative, which is what the majority of the directors I have studied have done. I have also noticed that in almost all of these films, the directors have included a link from the beginning to the end, which successfully keeps the narrative contained and with a satisfying ending.
Three-Act Structure
The Three-Act Structure is an old principal used in all types of story telling. Essentially it means the story has a beginning, middle and end, though these are usually called:
- Setup
- Confrontation
- Resolution
Theorist #1- Todorov
Todorov identified traditional narrative theory by studying classic fairy tales and stories; he discovered that narratives move forward in chronological order with a clear beginning, middle and end, and suggested that characters are changed in someway at the end of the narrative. He called this a linear narrative.
Linear Narrative Steps:
- The narrative begins with an equilibrium
- An action or character disrupts this equilibrium
- A quest to restore the equilibrium begins
- The narrative continues to a climax
- A resolution occurs and equilibrium is restored
Unconventional Narratives
Non-linear narratives and circular narratives have a more complicated structure; a non-linear narrative can move backwards and forwards in time, often using a flashback device (e.g. 'The Ellington Kid' by Dan Sully), and a circular narrative might begin at the end of a story and work its way back to the origins of the narrative, meaning the audience may only understand the full story a the end of the film (e.g. 'Slap' by Nick Rowland).
Theorist #2- Propp
Propp discovered that narrative is driven by characters using a set of narrative functions, and did this by analysing Russian folk tales. He discovered 8 different types of character:
The Hero -protagonist- (has a quest/mission to complete)
The Villain -antagonist- (attempts to stop the hero from achieving their goal)
The Princess (the love interest/object of the quest)
The Father (a person with knowledge)
The Dispatcher (who sends the hero on their mission)
The Donor (who gives the hero help)
The Sidekick (who helps the hero; not as attractive/potentially comic relief)
The False Hero (a villain pretending to be good to deceive the real hero)
Theorist #3- Levi-Strauss
Levi-Strauss examined how narratives unconsciously reflect the norms/values, beliefs and myths of a culture. He states that these elements are usually expressed in the form of binary oppositions; a pair of related terms or concepts that have opposite meanings. For example: rich/poor, north/south, good/evil, black/white, young/old.
Theorist #4- Barthes
Barthes discovered that narrative in literature and film is a series of 5 codes that are read/interpreted by the audience.
Action (Proairetic) Code: Something the audience knows that doesn't need explaining, e.g. we assume a person on a stretcher is going to the hospital
Enigma (Hermeneutic) Code: Something hidden from the audience, creating mystery and intrigue
Semantic Code: Something the audience can figure out through connotations and implications
Symbolic Code: Something symbolising a more abstract concept that can create a greater meaning, tension, drama or character development
Cultural (Referential) Code: Something viewed with understanding due to an external body of cultural/historical/scientific knowledge e.g. younger people may understand word that older people can't
Narrative in Short Films
In short films specifically, the narrative structure becomes more of an issue, as the director has a limited amount of time to tell their story. Therefore, there are normally two ways narrative in a short film will go; the director will either stick to a simple three-act structure, or experiment with a more unconventional narrative, which is what the majority of the directors I have studied have done. I have also noticed that in almost all of these films, the directors have included a link from the beginning to the end, which successfully keeps the narrative contained and with a satisfying ending.
Good research Zoe. How will you deal with narrative?
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