1. Theorists who write about
narrative structure.
By Briony Watkins.

2. Films that follow this
narrative include those
such as Snatch and
Lock, Stock and Two
Smoking Barrels.
Tzvetan Todorov.
Films that do not follow
this narrative structure
included ones such as
Pulp Fiction.
• Tzvetan Todorov believed that narrative follows a set
structure.
Equilibrium- This is how the narrative begins. Things are
quite normal and nothing out of the ordinary is happening.
Disequilibrium- The narrative then changes. Something
Goes wrong and a problem arises.
Acknowledgement of disequilibrium- The characters
recognise that their is a problem and look at how to resolve
it. Planning etc.
Attempt to repair disequilibrium-The characters spend
majority of the film trying to solve the problem that caused
the disequilibrium.
Equilibrium- The problem is solved and the disequilibrium
ends. Although it might not always end happy, the
disequilibrium is brought to an end.

3. Vladimir Propp.
• Vladimir Propp believes that there are set characters in
narrative that follow set roles. He was inspired by the layout of
fairytales so his theory is inspired by them.
Character type
Role within narrative
Protagonist (hero).
Leads the narrative, is usually either looking for something (a quest) or trying to solve
something (a mystery). They don’t have to be male but typically are.
Antagonist (villain).
Gets in the protagonist’s way and is dislikeable.
Heroine.
Is usually some sort of prize or reward for the hero. If the hero is female then the heroine
could be male but this isn’t very typical.
Father.
This is an authority figure who offers a reward to the hero for completing their ‘quest’ or
‘mission’. The reward is usually a woman, based on the ideas of fairytales.
Helper.
They help the hero and often act as a sidekick.
Donor.
This character usually gives the hero something such as a clue to help them complete
their ‘quest’ or ‘mission’. They can sometimes double up in a ‘team’ with the helper.
Mentor.
They teach and guide the hero.

4. Roland Barthes.
• Roland Barthes believed that narrative is like a ball of string
that can be unravelled in different ways, so in terms of
narrative it can be interpreted in different ways.
• He describes there being five codes that we use to interpret
the meaning from the narrative. These five codes are enigma,
action, semantic, symbolic and referential codes. For the
genre of gangster films, the two most important for me are
enigma and action codes.
• Action codes are when the audience see something and
immediately know that action is going to come up next.
• Enigma codes are when the audience don’t know what is
going to happen next. Part of the story is unexplained and the
audience are left with questions.

5. In the opening of pulp fiction, the audience are met with enigma codes. They will wonder
who this couple are and why their conversation is so important. This leads to them being
unsure of what is going to happen next and this creates an interest in the scene. There
is then an action code of the close up shot of a gun provides the audience with an
insight into what will happen next, as the anticipated action then occurs. This film
therefore follows Barthes five codes theory.

6. Films that follow this
narrative theory include
those such as The
Departed.
Claude Levi-Strauss.
Films that do not follow
this narrative theory
structure included ones
such as Lock, Stock and
Two Smoking Barrels.
• Claude Levi-Strauss suggests that all narrative has to be driven
forward by conflicts caused by a series of opposing forces.
• It is a case of action versus enigma, which is based on Barthes
theory of there being five codes.
• Some of these opposing forces could include light/dark,
good/evil, noise/silence, youth/age, right/wrong,
poverty/wealth, strength/weakness, inside/outside.
• He calls this the theory of binary oppositions and describes
how each main force in a narrative has its equal and
opposition.