Tsvetan Todorov presents us with a theory about all films in general in
which he believes follows a mainstream pattern (narrative structure). It
consists of five main stages and is well known as the Todorov’s theory of
narrative…
Stage 1 – Equilibrium: This is the introduction
to the film. There is mostly always a happy start to the film, where everything
seems in order and all characters are happy.
Stage 2 – Disruption: A problem occurs which
upsets the peace of equilibrium. Oppositional characters (normally considered
as the ‘bad guys’) are introduced and the film takes a turn in a different
direction.
Stage 3 – Recognition: The disruption has now
been realised by characters. This part of the film is normally considered the
longest and also is the part with a lot of the tension and suspense building up
to it. The characters lives and the event are combined; we now get to see what
effect it has on the characters and on their situation.
Stage 4 - Repair:
This is the part of the film with the most tension. Attempts to repair the
situation are occurring to restore the equilibrium. In some cases characters
may be the ones trying to put things back to the way they are.
Stage 5 – New Equilibrium: Everything is now
restored! However changes can be adapted but the problems are all solved. Things return to normal or the new
equilibrium s accepted.
Applying Todorov’s Theory
If we applied Todorov’s
theory to the film Taken, the storyline would be recognised as this:
Stage 1 – Equilibrium: At the
beginning equilibrium is set, the main protagonist has gone to his daughters
birthday party.
Stage 2 – Disruption: The
disruption in this film is that the daughter tells her father that she is going
to Paris with a friend.
Stage 3 – Recognition: The
recognition of this disruption is when the daughter arrives in Paris and is on
the phone to her Dad, however then she sees her friend being kidnapped and is
then kidnapped herself after.
Stage 4 - Repair: The attempt to repair the damage is
made by the father who we see in a series of moving images searching for his
daughters kidnapper and beating up a lot of people on the way.
Stage 5 – New equilibrium: At
the end of the film the Father saves the daughter.
Vladimir Propp also has a narrative theory; it is on a similar level to
Todorov’s however they are differentiated, as Propp’s theory is a lot more
complex and detailed in comparison.
It includes:
Preparation – This is the introduction to the story.
Complication – Keys and clues to the direction of the story.
Transference – The donor events.
Struggle – Dealing with the complications.
Return – Return home however there are some issues still
remaining.
Recogition – Loose ends are finally tied up.
Propp also believed in a
character theory in which he believed that every narrative had seven character
types. He believed that there were more characters than just the antagonist and
protagonist and that each character had a definite role, these were:
The Dispatcher – The character who makes the villain’s evil known
and sends the hero off.
The (magical) helper – Helps the hero on their quest.
The Princess or prize – The hero deserves her throughout the play however
is unable to attain her possible because of villain. At the end of the hero’s
quest they will most likely get together. This is the stereotypical ‘happy ever
after’ moment.
Her Father – Rewards the hero
The Donor – Prepares the hero and gives them some sort of
magical object.
The Hero/or victim – Reacts to the donor, marries the princess and
completes the quest.
The False Hero – Takes credit for the hero’s action and also slyly
tries to marry the princess.
Applying Propp’s Theory
If we applied Propp’s theory
in the film The Matrix, the characters would be addressed by as this:
The Dispatcher – Morpheus
The (magical) helper – Trinity
The Princess or prize – Trinity
The Donor – Morpheus
The Hero/or victim – Neo
The False Hero – Cypher
BY LAUREN
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