Luwang Gitteh

.Narrative Structure/Theorists

Todorov
Tordorov argues that everything begins with a state of equilibrium-
everything appears to be normal and calm. Correspondingly to our
opening sentence as Sydney Johnson is in the kitchen, listening to
music, which creates the tranquil atmosphere.
Then there is some sort of interference or disequilibrium this can
be a threat to the normal situation or it just a setback.
There is then a new equilibrium, which is produced to at the end of
the narrative. Usually this change marks a significant change in the
protagonists life as their behaviour or outlook on life changes.
In this case the narrative is seen as circular, as the characters attempt to
restore the equilibrium, however the end result differs to the beginning.

With regards to our production our film fits this criteria as we start off
with and equilibrium were Sydney Johnson is in the kitchen and is in a
normal and quite atmosphere. However this juxtaposes later events when
there is that disruption of her lifting up the cloth and revealing the knives.
This continues, as shes go into the living room where she has a man tied
up. The attempt to restore this equilibrium could supposedly be the bible
salesman who comes in and is quite weary of Sydneys behaviour. The
new equilibrium will come to light towards the end.

Equilibrium - Disruption of Equilibrium - Disequilibrium -

Restoration of Equilibrium - New Equilibrium

Barthes

Barthes theorises that there are different codes, which supplement and
help the understanding of characters and narrative. Barthes declared that
in some films one action will lead to another and this is how the story
develops. For example, someone kills someone then that persons friend
will go hunt him or her down. In this case the audience is made aware of
why these things are happening. However on the other hand it can be a
film driven by mystery, which carries the film forward. In this scenario the
audience are highly intrigued to find out what will happen next.
Proairetic code (the voice of empirics): The code of actions. Any
action initiated must be completed. The cumulative actions
constitute the plot events of the text.

Hermeneutic code (the voice of truth): The code of enigmas or

puzzles in the film.

Connotative code (the voice of the person): The accumulation of

connotations. Traits and actions, which relate to the character.
Luwang Gitteh

Cultural or referential code (the voice of science): Though

all codes are cultural, we reserve this designation for the
storehouse of knowledge we use in interpreting everyday
experience.

Symbolic code (voice of the symbol): Any symbolism that

the appearance of a certain object or character may suggest to the
audience

Our production doesnt follow this narrative theory as it follows the

structure of a story just like Todorovs theory, where everything flows and
happens in a chronological order. Bartess theory refers closely to the
understanding of characters and the fact that their story must commence
with some sort of action (unlike Todorovs where it begins with and
equilibrium) and then develop and react from that.