Connolly-ASMedia

Narrative theory Propp Todorov

Learning objective: To be able to apply the narrative theories of Propp and Todorov to texts

Key words: Narrative, Todorov, Equilibrium, Propp, Characters

You will Learn about Todorov’s theory of equilibrium and Propp's character functions and identify how the theory has been used in a short animation.

Narrative

A narrative (or play) is any account of connected events, presented to a reader or listener in a sequence of written or spoken words, or in a sequence of (moving) pictures.
The word derives from the Latin verb narrare, "to tell".

Telling stories is that thing that makes us human. Stories ignite our imagination, and let us leap over cultural walls and cross the barriers of time. They bring us to other worlds and let us explore other lives and yet, at the same time, give us a better understanding of our own time, place and emotions.

Narrative theories suggest that stories (in whatever media) share certain features. They suggest that there are underlying structures to stories.

Narrative Theory 1: Todorov

Todorov saw underlying structures to narratives.
He argued that stories all begin in “equilibrium” when all forces are in balance.
This is disrupted by a problem to cause “disequilibrium”.
Then more events take place before a“new equilibrium” is established.

1. Equilibrium
2. Disruption of equilibrium
3. Recognition of disruption
4. Attempt to repair disruption
5. New equilibrium. Often with a lesson learned.

Many film makers today don’t bother setting up the normal world in order to disrupt it with a problem (a killer shark, etc.) and go straight for the problem and disequilibrium. However, there will always be a sense in the film of what life was like before the problem came along and therefore what the characters can return to if they can only sort the problem out.

Narrative Theories and Examples

Narrative Theory 2: Propp

Vladimir Propp: “Characters have a narrative function,they provide a structure for the text”

Propp looked at folk tales and saw some structures they shared in common. He found 8 character roles and 31 functions that move the story along.

The 8 character roles can also be types of action because they are not the sort of roles which appear in the cast list. One character in the film or play can occupy several of his character roles or types of action. They are:

The villain
The hero (not always good but always carries the story along, the central character and not always male)
The donor (who provides an object with some special property)
The helper (who helps the hero)
The princess (the reward for the hero and object of the villain’s schemes)
Her father (who rewards the hero)
The dispatcher (who sends the hero on his way)
The false hero

The 31 functions include events such as:

The hero is prohibited from doing something

The villain learns something about the victim

The villain is punished, etc.

Applying Propp’s theory Propp’s theory can applied to all kinds of narrative

For example, in TV news the audience are exposed to what the broadcaster wants us to believe to be “heroes” and “villains” – Osama Bin Laden (villain) or Princess Diana (hero)

The theories can also be applied to promotional posters, computer games and advertisements.

Task 1:
Write down Propp's 8 Character functions in your orange books.

Write down Todorov's theory on narrative structure in your orange books.

Task 2:Try to apply Propp's theory to the characters in this Indiana Jones film.

There is a link to IMDB with the storyline here to help:

Task 3:

Watch the short animation 'The Wrong Trousers' by Aardman.

Indicate the Proppian characters where you can and apply Todorov's states.

Task4: Homework

Apply the theories of Propp and Todorov to a feature film of your choice.
Suggestions:

The Matrix

Shrek

Titanic..

Welcome to Media Studies MS-1 and MS-2

Welcome to WJEC AS Media. Introduction to the Media Studies framework.

Learning Outcome: To assess exemplar coursework against WJEC marking criteria.

You will be involved with Unit 1: MS1 (50%) and Unit 2: MS2 (50%)

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Unit 1: MS1. Exam
This is an externally assessed written exam paper (2 1/2 Hours) consisting of
three compulsory questions, including one question on unseen audio-visual or printbased
material (interactive media will be presented as print-based) (40, 30 & 30).
Exam to be taken next June 2016.

The exam questions will test your knowledge of Media Representations and Responses

In addition, you will complete coursework as part of Unit 2: MS3
This is internally marked and externally moderated consisting of;
Three components:
one pre-production (20);
one production which develops from the
pre-production (40);
and one report on the production process (40)
(Group work permitted for audio-visual productions only.)

The unit is to do with Media Production Processes,

Pre-production
• The pre-production should be an artefact – for example a script, a storyboard a
magazine front cover and contents page, a DVD cover, a CD cover (list not
exhaustive!).

• Pre-productions should be informed by research undertaken but the research
must not be submitted and can only be assessed as part of their report. Please
do not submit research.

• As a guideline – storyboards should be around 15 frames long – this is to ensure
that both technical and creative skills may be demonstrated.
Storyboards should
contain the following: shot duration, visual image of shot, camera instructions,
audio details, and transitions between frames. Many Centres also add a
comments box which is helpful. A template is available from WJEC.

• As a guideline – scripts should be between 8 – 10 pages (depending on the
number of words on a page!) and should be accurately laid out following a
recognisable format, for example BBC Writers’ Room has examples. It is useful
for moderators to know what format your candidates have followed.

• Print pre-productions should be 1 – 2 pages but 2 pages allow candidates to
demonstrate a fuller range of skills and is therefore recommended.

Production
• Print productions should be 2 – 3 pages and audio-visual productions should be
between 2 – 3 minutes.
• Group productions are allowed for audio-visual work but each member of the
group must have a clearly defined technical role – for example camera, editing or
sound (where there is significant sound design). Roles such as actor, director,
locations manager are not acceptable.
• Both pre-productions and productions are assessed on both creative and
technical competencies – so candidates need good technical skills as well as
good ideas.

Report
A report
thus consists of three elements: the research informing the preproduction; a brief

indication of the target audience; and an evaluation of the production.

The evaluation part of the report should discuss the production’s strengths and

weaknesses through a comparison with existing media products. Candidates who have been working in a group need to base their evaluation on their role –

for example camerawork or editing.

Although there must be a link between pre-production and production, there is
some flexibility in the nature of the tasks which can be set for pre-production and

production.

Examples of linked pre-production and production tasks include:

 A storyboard of the trailer for a new BBC1 television crime drama (preproduction)
and the trailer for that drama (production)

 A script or shooting script for the opening sequence of a teen horror film (preproduction)
and a marketing campaign for a new teen horror film, to include at
least the dvd cover and one poster (production)

 Draft designs for two magazine front covers (pre-production) and a double page

spread for one of those magazines (production)

MS1 (Written Exam) requirements.

This unit is marked against the following assessment objectives:

AO1 Demonstrate knowledge and understanding of media concepts, contexts and critical debates.

A02 Apply knowledge and understanding when analysing media products and processes, and when evaluating their own practical work, to show how meanings and responses are created.

Candidates will be required to study how media texts are constructed and how audiences and users respond to and interpret them using the following framework:

(a) Texts

genre conventions
narrative construction
technical codes such as camerawork, lighting, editing and sound for audio-visual media and graphic design elements for print-based and interactive media
language used and mode of address.

(b) Representations

the role of selection, construction and anchorage in creating representations
how the media uses representations
the points of view, messages and values underlying those representations.

Candidates will be expected to have studied a range of representations of:

gender
ethnicity
age
issues
events
regional and national identities.

(c) Audience Responses
Candidates will need to consider the ways in which different audiences can
respond to the same text in different ways. This will involve studying:

the ways in which audiences can be categorised (e.g., gender, age, ethnicity, social & cultural background, advertisers' classifications)
how media producers and texts construct audiences and users
how audiences and users are positioned (including preferred, negotiated and oppositional responses to that positioning).

Any media can be explored but the media texts used in the examination will
be selected from the following:

advertisements
DVD covers
CD covers
newspaper front pages
magazines (including comics)
radio sequences
film extracts
television sequences
music videos
websites (if selected for examination, websites will be reproduced in
print-based format)
computer game extracts.

A look at exemplar work.

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MS2 requirements

MS2: Media Production Processes. You are required to submit:

Three components: one pre-production (20);
one production which develops from the pre-production (40);
and one report on the production process (40)

(Group work permitted for audio-visual productions only.)

Submission of Ideas: End of week ONE

Submission of Pre Production: End of week Eight

Submission of Production: End of week Twelve

Submission of Evaluation: Final Draft: End of week Fourteen

A look at some audio visual exemplar work.