Theory Behind Our Idea
Tzvetan Todorov:Todorov believed that there were 3 stages to narrative structure, these were:
- 1. A state of equilibrium (all as it should be)
- 2. A disruption of the equilibrium (usually by an event)
- 3. Restoration of the equilibrium (hero finds solution to the problem and everything is resolved)
He later developed this theory into a 5 stage narrative structure, these 5 stages were:
- 1. A state of equilibrium (all as it should be)
- 2. A disruption of the equilibrium (usually by an event)
- 3. A recognition that the disorder has occured
- 4. An attempt to repair the damage
- 5. A return or restoration to start a new equilibrium
We will be using Todorov's 5 stage narrative structure in our trailer, by having the following:
- 1. Shots of the child playing with the mother at the start (a state of equilibrium)
- 2. Showing the child being taken (disruption of the equilibrium)
- 3. Mother realising the child is gone (rcognition that the disorder has occured)
- 4. Mother starts searching for the child (attempt to repair the damage)
- 5. We will not be including a return to equilibrium in our trailer as this would ruin the plot and the audience will know what happens and therefore not want to see the film.
Charlotte Perkins
Perkins' theory was all about stereotypes, she believed that:
- 1. Some stereotypes are positive
- 2. They don't all show minority groups as being less powerful
- 3. They can be about one's own social group
- 4. They are not rigid and unchanging
- 5. They are not always unrealistic and far from the truth
We will be using Perkins theory in our trailer, we will be using ideas number 4 to a certain extent and number 5:
-4. By going against the idea that it is normally a male character looking for the kidnapped child, we are going to have the child's mother (a female character) looking for her instead. However we do follow the idea of why the male character is normally looking for the child, by having the mother in a state and crying rather than calm and thinking logically.
- 5. The mother of the child is unable to find the child and throughout the trailer her attempts are very much unsuccessful.
Vladimir ProppPropp developed a theory of the spheres of action. He believed that all tales followed these 31 functions after the initial situation was depicted:
- 1. ABSENTATION: a member of a family leaves the security of the home environment. This may be the hero or some other member of the family that the hero will later need to rescue. This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person.
- 2. INTERDICTION: an interdiction is addressed to the hero ('don't go there', 'don't do this'). The hero is warned against some action.
- 3. VIOLATION of INTERDICTION: the interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away.
- 4. RECONNAISSANCE: the villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc; or intended victim questions the villain). The villain (often in diguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way.
- 5. DELIVERY: the villain gains information about the victim. The villain's seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location.
- 6. TRICKERY: the villian attempts to decieve the victim to take possession of victim or victim's belongings. The villain now presses further, often using the information gained in seeking to decieve the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend thereby gaining collaboration.
- 7. COMPLICITY: victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. This may range from providing the villain with something to actively work against the good people.
- 8. VILLAINY or LACK: villain causes harm/ injury to family member. Alternatively, a member of the family lacks something or desires something. There are two options for this function, either or both of which may appear in the story.
- 9. MEDIATION: misfortune or lack is made known. The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish and woe.
- 10. BEGINNING COUNTER-ACTION: seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the lack, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of the future actions and by which a previously ordinary person takes on the mantle of heroism.
- 11. DEPARTURE: hero leaves home.
- 12. FIRST FUNCTION OF THE DONOR: hero is tested, interrogated, attacked etc, preparing the way for his/her recieving magical agent or helper.
- 13. HERO'S REACTION: hero reacts to actions of future donor.
- 14. RECEIPT OF A MAGICAL AGENT: hero acquires use of a magical agent.
- 15. GUIDANCE: hero is transferred, delivered or led to whereabouts of an object of the search.
- 16. STRUGGLE: hero and villain join in direct combat.
- 17. BRANDING: hero is branded.
- 18. VICTORY: villain is defeated.
- 19. LIQUIDATION: initial misfortune or lack is resolved.
- 20. RETURN: hero returns.
- 21. PURSUIT: hero is pursued.
- 22. RESCUE: hero is rescued from pursuit.
- 23. UNRECOGNIZED ARRIVAL: hero unrecognized, arrives home or in another country.
- 24. UNFOUNDED CLAIMS: false hero presents unfounded claims.
- 25. DIFFICULT TASK: difficult task proposed to the hero.
- 26. SOLUTION: task is resolved.
- 27. RECOGNITION: hero is recognised.
- 28. EXPOSURE: false hero or villain is exposed.
- 29. TRANSFIGURATION: hero is given a new appearance.
- 30. PUNISHMENT: villain is punished.
- 31. WEDDING: hero marries and ascends the throne.
We will be using two of Propp's spheres of action in our trailer:
- 8. VILLAINY or LACK: we will be showing this through the abduction of the child.
- 16. STRUGGLE: we will be showing this through the mother's struggle at trying to follow the "clues" to find her abducted child.
Edward BraniganBranigan's theory was much the same as Todorov's, in that Branigan had a structure of events which any film could be broken down into. Branigan's theory had 6 stages and they were as follows:
- 1. An introduction and the setting of the scene.
- 2. Explanation of the affairs.
- 3. Initiating the event.
- 4. Complicating actions.
- 5. Outcome.
- 6. Reactions to the outcome.
In our trailer we will be using the first 4 of these events. This is how we will do this:
- 1. Showing the mother and the child playing happily.
- 2. Explaining that things aren't as they seem.
- 3. Showing the child going missing, this will be further heightened with the mother's realization that the child is gone.
- 4. Showing the mother searching for the child and trying to follow the "clues" whilst getting increasingly frustrated and distressed.