NARRATIV

E THEORY

BY

LA

UR

EN

INTRODUCTION TO NARRATIVE STRUCTURE

Narrative structure is the way a story is told

There are three different ways a narrative can be structured:

Circular – This is when the story begins with the end of the narrative. A common example of this is Titanic

Episodic – Similar to how storybooks, break into chapters, the episodic narrative structure typically follows a chronological order however different aspects of viewpoints are told in different chapters and may disturb the order. And example of this is Forest Gump.

Linear – Linear structure is the most used, the most common example is a Disney fairytale. It follows a chronological structure of beginning, middle and end.

TODOROV’S THEORYTodorov says that to every story there is a simple

beginning, middle and end structure

This theory is perfectly valid, however only applies to a linear narrative, such as fairytales. Since many gangster films do not follow a simple linear pattern, I will not use a linear narrative. Notable mob films that go against Todorov’s theory are Goodfellas and Pulp Fiction.

Equilibrium

Disequilibrium

Acknowledgement of problem

Attempt to resolve problem

Restoration of NEW Equilibrium

PROPP’S THEORYPropp states that every story only ever has 8 different types of characters.. Take Finding

Nemo

The Villain – usually the cause of the disequilibrium in the narrative – Diver

The donor – Prepares the hero/gives the hero a magical object – Turtles, fish

The helper – Helps the hero in the quest, sidekick? - Dory

The princess/prize/victim – the victim/one in need of ‘saving’, can be an object valuable to hero - Nemo

The princess’ father – gives the task to the hero

The hero – reacts to the donor – Marlin

The false hero – tries to take credit for the hero’s actions

Most films follow this character theory however not all characters are always present. Especially in mob films, sometimes the ‘quest’ isn’t clear or there isn’t one.

LEVI’S THEORYLevi says that all films contain

binary opposites

Love VS hate

Red VS Blue

Opposite themes such as good v evil, power v weakness, crime v justice and rich v poor are all apparent in gangster films

However, the gangster genre challenges this theory as both ‘sides’ of the themes are not always present at all times.

In this example, Harry is the protagonist and Lord Voldemort is the antagonist. This image is very effective as it clearly shows the binary opposite between the two characters, good v evil, young v old, innocent v corrupted

NARRATIVE STRUCTURES IN GANGSTER FILMS

The gangster genre is interesting when compared to other genres’ narrative structures. Since most ‘heroes’ in gangster films hold aspects expected of the ‘villain’. This makes it hard to clearly identify the protagonist.

Most gangster films follow the rise and fall of a particular character anyway. He starts off small, and willing to enter the criminal world, then goes from weak to powerful and maybe even replacing the boss over time. The gangster is finally destroyed and is given in to the hands of justice.

They follow Levi’s theory as extreme opposites are usually expressed through the film such as rich to poor and weak to powerful.

Despite not always following a linear-Todorov narrative structure, Gangster films often still hold onto a bit of classical hollywood structure as the main character is usually fuelled by a goal or aim. Often it’s ambitious, like striving to achieve the American Dream of wealth and riches.

NARRATIVE STRUCTURE FOR MY OPENING

For my opening, I think I will use an episodic narrative structure. This is because many well-know mob films such as Pulp Fiction and Goodfellas also use this structure. It makes the film feel as if though it is being told from the main character’s memories, or flashbacks. It unravels complicated events and can present these events in the perspectives of different characters. This is not only more entertaining to watch, the film becomes less predictable and allows the audience to identify with a number of different characters as they feel they ‘know their side of the story.

I don’t think Tordov’s theory will help me in my film however I will use Levi’s theory and build binary opposites about power as this is common in gangster films. Propp’s theory I will use to help assign the characters.