Blog 3 - Analysis and Theory

Narrative theories in media explore how stories are structured, understood, and communicated across various forms of media. These theories provide frameworks for analyzing the elements that make narratives compelling and effective. Furthermore, in order to achieve a certain impact, some filmmakers and authors question established narrative structure.

The theorist Vladimir Propp suggests a highly stable list of characters whose roles and narrative functions:

1. The hero: The seeker-hero (who relies more heavily on the donor to perform their quest) and the victim-hero (who needs to overcome a weak- ness to complete their quest).

2. The villain: fights or pursues the hero and must be defeated if the hero is to accomplish their quest.

3. The princess and the princess’s father: the princess usually represents the reward of the hero’s quest, while the princess’s father often sets the hero difficult tasks to prevent them from mar- rying the princess.

4. The donor: provides the hero with a magical agent that allows the hero to defeat the villain.

5. The helper: usually accompanies the hero on their quest, saving them from the struggles encountered on their journey, helping them to overcome the difficult tasks encountered on their quest.

6. The dispatcher: sends the hero on his or her quest, usually at the start of the story.

7. The false hero: performs a largely villainous role, usurping the true hero’s position in the course of the story. The false hero is usually unmasked in the last act of a narrative.
   

Reinforcement on Propp's theory:

The theorist Tzvetan Todorov suggests that as a result, that an ‘ideal’ narrative is organised using the following story structure:

• Equilibrium: the story constructs a stable world at the outset of the narrative. Key characters are presented as part of that stability.

• Disruption: Oppositional forces – the actions of a villain, perhaps, or some kind of calamity – destabilise the story’s equilib- rium. Lead protagonists attempt to repair the disruption caused.

• New equilibrium: disruption is repaired and stability restored. Importantly, the equilibrium achieved at the end of the story is different to that outlined at the start. The world is transformed.

(From Mark Dixon-Media Theory for A Level)

Audiences might respond well to particular narrative forms for a variety of reasons, often influenced by psychological, cultural, and contextual factors.

Some like straightforward narratives with clear endings because audience find them satisfying and easy to understand. Others prefer stories that make them feel strong emotions. Many enjoy stories from their own culture or that teach them something new. Then, there are those who love escaping into fantasy worlds or seeing new and creative ways of telling a story. What a person likes in a story can depend on their personal interests, their background, and even their mood.

Example of work that challenge the fixed narrative structures:

Christopher Nolan- Momento (2000)

The movie utilizes a reverse chronological order to mirror the protagonist's anterograde amnesia. The reverse chronology mimics Leonard's experience of memory loss for the audience. Each scene presents a moment in time that precedes the one before it, creating a disorienting effect that simulates Leonard's perspective. This approach to storytelling reflects on the randomness of life events and the interconnectedness of actions, garnering critical acclaim and influencing a generation of filmmakers.This method compels viewers to actively engage with the narrative, reconstructing the storyline in their minds to understand the events leading to the current moment.

 Saw (2004)

Saw is a 2004 American horror film directed by James Wan, in his feature directorial debut, and written by Leigh Whannell from a story by Wan and Whannell.

The central plot follows two men, Adam and Dr. Gordon, who wake up locked in a rundown bathroom, chained to pipes on opposite sides. There's also a dead person with a gun and a tape recorder near them. This situation leads us to learn about the Jigsaw Killer, who makes people play dangerous games to see how much they want to survive.

Application of theory

Propp’s theory identifies consistent character types and functions within narratives. In "Saw," we can see the Hero (Dr. Lawrence Gordon), the Villain (Jigsaw), and the Dispatcher (who provides the “game’s” rules). However, the film twists these roles, complicating the typical hero’s journey and casting ambiguity on the villain’s motivations, which enhances the thriller's complex moral landscape.

Roland Barthes' semiotic theory is also useful in analysing "Saw" through its signs and symbols that communicate deeper meanings.

The iconic puppet, Billy, is used as a symbol and semiotic code for the antagonist, Jigsaw. Its appearance is a sign of imminent danger and is often used to communicate Jigsaw’s messages to his victims, serving as a physical manifestation of his control and presence.

Appearance-pale face with spiraling red cheeks, dark eyes, and black suit — serves as a visual code for the audience, signifying a departure from the normal world.