Narrative Theory - Vladimir Propp

Narrative Theory - Tzvetan Todorov

Todorov’s Narrative Theory

Tzvetan Todorov’s narrative theory suggests that all narratives follow a 3 part structure where they begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when equilibrium is restored.

This simple formula can be applied to virtually all narratives - it is a more formal way of thinking about the beginning, middle and end, and it takes into account Aristotle's theory that all drama is conflict. This states that there is a disequilibrium at the heart of every narrative.

Classifications - What are they and What do they stand for?

The following text is taken from the website of the British Board of Film Classification (this was taken from the website on the 1st November 2010 at 15:00, please be aware that all aspects of classification are subject to change, if the BBFC feels that change is required).

Universal – Suitable for all

It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.

Discrimination

No discriminatory language or behaviour unless clearly disapproved of.

Drugs

No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.

Horror

Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.

Imitable behaviour

No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.

Language

Infrequent use only of very mild bad language.

Nudity

Occasional natural nudity, with no sexual context.

Sex

Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’).

Theme

While problematic themes may be present, their treatment must be sensitive and appropriate for young children.

Violence

Mild violence only. Occasional mild threat or menace only.

Parental Guidance

General viewing, but some scenes may be unsuitable for young children

Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.

Discrimination

Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context.  Discrimination by a character with which children can readily identify is unlikely to be acceptable.

Drugs

References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.

Horror

Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.

Imitable behaviour

No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.

Language

Mild bad language only.

Nudity

Natural nudity, with no sexual context.

Sex

Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.

Theme

Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.

Violence

Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy).

Suitable for 12 years and over

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

Discrimination

Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.

Drugs

Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.

Horror

Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free.  Easily accessible weapons should not be glamorised.

Language

Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.

Nudity

Nudity is allowed, but in a sexual context must be brief and discreet.

Sex

Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.

Theme

Mature themes are acceptable, but their treatment must be suitable for young teenagers.

Violence

Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

Suitable only for 15 years and over

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

Discrimination

The work as a whole must not endorse discriminatory language or behaviour.

Drugs

Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

Horror

Strong threat and menace are permitted unless sadistic or sexualised.

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.

Language

There may be frequent use of strong language (for example, ‘fuck’). The strongest  terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity

Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex

Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely  to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

Theme

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence

Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

Suitable only for adults

No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

• where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
• where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
• where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.

In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.

Sex education at ‘18’

Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.

Sex works at ‘18’

Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ video works may not be supplied by mail order. The following content is not acceptable:

• any material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959
• material (including dialogue) likely to encourage an interest in sexually abusive activity (for example, paedophilia, incest or rape) which may include adults role-playing as non-adults
• the portrayal of any sexual activity which involves lack of consent (whether real or simulated). Any form of physical restraint which prevents participants from indicating a withdrawal of consent
• the infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity
• penetration by any object associated with violence or likely to cause physical harm
• any sexual threats, humiliation or abuse which does not form part of a clearly consenting role-playing game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable.

These Guidelines will be applied to the same standard regardless of sexual orientation.

Codes and Conventiions of my chosen genre

Codes and Conventions of Thriller films:

Thrillers are mostly characterised by an atmosphere of menace, violence, crime and murder by showing society as dark, corrupt and dangerous, though they often feature a happy ending in which the villains are killed or arrested. Thrillers heavily promote on literary devices such as plot twists, red herrings and cliffhangers. They also promote on moods, such as a high level of anticipation, adrenaline rush, arousal, ultra-heightened expectation, uncertainty, anxiety and sometimes even terror. The tones in thrillers are usually gritty, slick and lurid.
The cover-up of important information from the viewer and fight/chase scenes are common methods in all of the thriller subgenres. Though each subgenre has its own characteristics and methods. Common methods in crime thrillers are mainly ransoms, captivities, heists, revenge, kidnappings and, more common in mystery thrillers are, investigations and the whodunit technique. Common elements in psychological thrillers are mind games, psychological themes, stalking, confinement/deathtraps, horror-of-personality and obsession. While elements such as conspiracy theories, false accusations, paranoia and sometimes action are common in paranoid thrillers are also included.

My preferred classification would be a 15. This is becuase I want to include the following:

·         Strong threat and menace.

·         Dangerous behaviour (for example, hanging, suicide and self-harming).

·         Use of strong language.

·         Violence.

·         Drug taking.

The aim of my trailer is to plant an enigma into the mind o the audience so that they become intrigued and want to find out what happens. I may use questions on the screen to help with this. To help me achieve this I will keep as much of the story hidden with fast cuts not allowing the audience to catch on to anything more than what Im giving them.

Here are 3 examples of other Thriller trailers: The Bourne Ultimatum, 21 and Deja Vu

Soundtrack

Ideally, I would like to use a song called "Resistance" by Muse, the music video to which can be viewed below. I would want to use it due to its reference to "1984" in its lyrics. However copyright issues will make this incredibly complicated.

This means I will need to create my own soundtrack for the trailer which can be done using Logic Pro material on a computer. I intend to use this.

Trailer Idea's and 5 of my Favourite Films

Trailer Idea

My trailer is going to be based on the novel by George Orwell, Nighteen-Eighty-Four.

Plot – The story of Winston Smith presents the world in the year 1984, after a global atomic war, via his perception of life in Airstrip One (England or Britain), a province of Oceania, one of the world's three Super-States; his intellectual rebellion against the Party and illicit romance with Julia; and his consequent imprisonment, interrogation, torture, and re-education by the Thought police in the Ministry of Love.

Characters – Big Brother, Winston, Julia, O’Brien,

Locations – My House, Horton Woods, Winey Hill, Small and Dark room. Tall buildings to use as “Ministry Buildings” (Love, Plenty, Truth and Peace).

 

My Top 5 Films (Not in order)

1.       The Bourne Ultimatum – The third film in the Bourne Series based on the novels, it stars Matt Damon as Jason Bourne. After a cliffhanger ending in the previous movie, this ties up the loose ends as Bourne searches for his real identity.

2.      The Day After Tomorrow - A film that makes a significant point about global warming and its effects but it is the general storyline of it that makes me enjoy it. The survival and near death experiences with the different situations for characters.

3.       Finding Nemo – This is a bit different because it is animated but I think its one of my favourite because it has some great humour and a really cool plot. The adventure in the open sea explores this relative obscure habitat on the Earth and uses it to produce a change in animated focus.

4.      The Hangover – When four men go to Vegas for a Stag Night, they plan on enjoying themselves but when they are drugged by Alan who is socially awkward so they forget the night completely, Doug who is his soon to be brother-in-law, goes missing. In a hilarious quest to rescue their friend Phil and Stuart along with Alan search Vegas trying to retrace their footsteps and find Doug to get him to his wedding on time.

5.       The Fast and The Furious: Tokyo Drift – A typical teenage males’ movie: fast cars, hot women, guns, violence and rivalry. Sean, a 17 year old American street racer is sent to Japan to live with his father after a race with another guy lands him so close to jail. He soon realises the streets are raced differently in Asia and as he gets to grips with his surroundings, his emotions fall to Neela, who like him is an “outsider”.

Sin City Trailer

Sin City - Thriller

Codes and Conventions - Thriller is a genre of literature, film and television that uses suspense, tension and excitement as the main elements. The primary subgenres of thrillers are: mystery, crime and psychological thrillers.

Cinematography - Panning, zoom, fly in shot, close ups on faces, mid-shots, two shots, birds’ eye view, tracking shots, fades, quick cuts, on screen effects, black and white.

Mise-en-scene – Dark clothing to coneal identities, guns for violence, close housing, industrial area, etc.

How audiences are targeted – Use of big name actors/actresses, similar movie traits, novel base.

Reliance on Previous titles – Uses novel as a base.

Star Persona – Jessica Alba, Mickey Rourke, Bruce Willis, Clive Owen.