http://www.slideshare.net/watchoutemmarsabout/narrative-theory-and-music-video
Todorov's Theory
Todorov's theory separates music videos into different stages:
- Equilibrium A state of 'perfection' or normality where everything is as it should be and the atmosphere is calm, happy
- Disequilibrium Where the equilibrium is disrupted somehow
- Recognition Awareness that equilibrium has occurred
- Reparation An attempt to repair the state of disequilibrium
- New Equilibrium
Vladimir Propp's Theory
This narrative theory is created through a variety of character functions:
- Hero = Seeking something
- Villain = Obstructs Hero
- Princess = The Hero's reward
- Father = Giver of reward
- Donor = Provides information and help
- Helper = Helps the Hero
- Dispatcher = Send the hero on a quest
- The role of a false Hero
In Propp's theory, these character types are established to increase understanding from the point of view of the audience.
Claude Levi-Strauss' Theory
This is a narrative theory built from the inclusion of binary opposites in a media text; one side will be represented as the 'right' side which the audience can identify with and support. Examples of these oppositions are things such as:
- Good Versus Evil
- Past and Present
- Normal and the strange
- Known and unknown
- Heaven and Earth
Summary
Regarding Todorov's theory, in comparison with our narrative structure, there are some conventions used. Our plot features an equilibrium e.g. that the couple were together, in love and happy, but has two sources of disequilibrium, the first being the soldier going off the war and the second being the presence of a New Lover. In some respect, the artist's despair and longing for the soldier to return is recognition of the disequilibrium happening, however, challenging the convention is the fact that there isn't much active reparation done to repair the circumstances surrounding the disequilibrium, although the soldier coming home could substitute that role. Our ambiguous ending of the soldier holding up the knocker at the end leaves the audience in a state of anticipation and query, a new equilibrium not following through, and challenging the convention a second time.
Propp's theory is followed in only minor aspects. Our plot is very simple, starring the Hero, our solider returning home, and the Princess, our artist waiting for him, but not acting as the reward, challenging the convetnion. The rekindling of their relationship on his return acts as the soldier's motivation, and the change in the Princess's role highlights our music video's modernity compared to what could be described as the old-fashioned style of Propp's theory. The New Lover character acts as the Villain, and his relationship with the artist, no matter how unhappily portrayed, is bound to obstruct the reunion of the couple in some way. However, this convention is challenged as the audience may interpret the artist as the Villain, being unfaithful to her boyfriend. Our music video doesn't include any of the other roles specified, suggesting that either our music video is the condensed version of Propp's theory or is only conventional in some aspects.
Conventions of narrative theory detailed in Claude Levi-Strauss' theory are followed. In our music video, the Past is represented as a happier time where the couple are together and in love. Contrastingly the Present sees the artist lonely and in an unhappy relationship with another man while waiting for the soldier to come home. The audience will therefore support the past over the present. Likewise, the soldier is presented as Good, as he was in a relationship with the artist and they were in love and happy together. The New Lover makes the artist unhappy and challenges their relationship, allowing the audience to identify him as Bad and support his opponent, the soldier.
No comments:
Post a Comment