Luwang Gitteh

Narrative Structure/Theorists

Tzvetan 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

Roland 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.

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.
Luwang Gitteh

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 necessarily abide by this narrative theory however there
are certain elements within our production which resembles with this theory. For
instance there is that hermeneutic code in our production in order to get the
audience to figure our Sydney Johnsons point of view and why she is consumed
and fixated on revenge. Barthess 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). However as the production progresses there is that story of
vengeance which you do not gather in the opening sequence however there is an
action with lead on from other and aids in the development of the story.

Vladimir Propps
Vladimir propps character theory indicates that there will always be eight
character types in every narrative. These are:
1. The villain fights against the hero

2. The dispatcher the character which makes the

villain evil and sends the hero off

3. The helper helps the hero on its excursion

4. The princess or prize the hero usually tries to win

her as his affection for her grows throughout the story
but cannot go to her, usually because of the villain.

5. Her father they give the task to the hero, Propp

notes that the princess and the father cannot be clearly distinguished.

6. The donor prepares the hero or give them something to aid in their
quest.
Luwang Gitteh

7. hero or victim they are trying to save the world and battle
against the villain.

8. False hero takes credit for the heros actions and

tries to take the princess.

Even though our production has some of these characters such as the hero and
villain, (the hero which is yet to be discovered). Furthermore Propps theory focus
fundamentally on fairy tales and how they follow this specific narrative structure.
Our production is a horror therefore Propps theory doesnt correspond well.