Today we had a lecture about Narrative, focusing on traditional narrative techniques. This is all part of our new subject, Production.
This is a summary of my notes from these lectures in preparation for an essay we’ll have to write later…!
Basically, the underlying structure of all stories is the same or similar.
The three core components of a story’s structure being:
- Exposition – the beginning, where characters, locations and goals/aims are exposed. Exposition sets the scene, it is not the story itself.
- The Narrative Arc – the main body of the story where there are problems which must be overcome in order to achieve goals, where the protagonist will experience things which will change them as a person, the events which lead up to a confrontation. For example, it can involve a journey, a set of tasks, or simply a set of events or meetings.
- Resolution – the ending. The result of the journey, battle, learning experiences etc. It can be similar to the exposition, acting as a comparison to the exposition, but often shorter. Of course, some stories don’t resolve themselves – they can end on cliff hangers or twists. Narrative Arcs can also include false resolutions which can deliberately mislead the audience, leading them down perhaps a conventional path, then suddenly subverting it and rocketing the story off in a different direction.
We focused on Exposition using two film examples;
“Psycho” (1960. Dir. Alfred Hitchcock) and “Toy Story” (1996. dir. John Lasseter)
A story’s exposition basically had to answer these questions,
- Where are we?
- When is this set?
- Who are these characters?
- Why should we care?
Psycho begins in Phoenix, Arizona, on Friday the 11th of December at 2:43pm. We learn this through title cards as the camera pans around a wide shot of Phoenix. There is no year stated, meaning the action is just set in “modern day”. It makes ti easier for the audience to relate to and it’s more expensive to film a live-action movie in the past rather than modern times because of costumes, sets and continuity.
It then zooms in through a half open window in a building and we see two characters, a man and woman in bed with each other.
In the scene that follows we learn important things about them through their dialogue. These facts layout the main goals and problems in the film.
The woman is Marion Crane and she’s a secretary, the man is her lover Sam Loomis. A divorcee with money troubles. Marion wants to marry Sam and is tired of their meetings in shabby hotels. However, neither can afford to live together happily.
We soon work out Marion is the protagonist as we follow events from her perspective. The camera only uses her point of view in this part of the film. We only see one other character‘s point of view – Norman Bates, Marion’s murderer. As he’s the antagonist he’s equally important.
Her main goal: Marry Sam.
Her main problem: Money.
Why should we care? Marion is a sympathetic character, she’s in love but her circumstances are preventing her happiness.
What leads the narrative on after this exposition is something called “The Inciting Moment”
The catalyst that pushes the narrative forward in to the Narrative Arc. This can be a sudden discovery, a mysterious person imparting information, a sudden tragedy, something amazing like winning the lottery.
In this case, it’s where Marion decides to run away with the money she’s been entrusted with to take to a bank.
We see a new scene in her bedroom, the camera is focused on the envelope of money and pulls back to reveal that this is clearly not the bank, revealing a suitcase full of Marion’s clothes. We suddenly know exactly what Marion is planning.
It’s important to note the clever use of her perspective. We see what she sees when she looks at her papers and the envelope of money. Her constant glances at the money shows her moral ambiguity. She’s not a morally bad person and is torn between what to do.
However she eventually decides to run away as she planned. Putting the money in to her handbag. This shot us unnecessary because you wouldn’t put $40,000 in a handbag, but the audience needs to see this as it defines her decision and makes it clear.
The other example was Toy Story.
The exposition sequence shows us that the setting is in a normal American suburb, in a family home. It’s rather vague. We can assume the action takes place in a modern day setting. Because there is no dictated year, the action isn’t dated.
We work out Woody is the main character, when Andy is playing with him we see things as Woody sees them, not as Andy does.
One main difference between Toy Story and Psycho’s narratives is that Marion has a goal to marry someone. Woody already has everything he wants, he’s gone as high as he can – he has status as Andy’s favourite toy. He also has a presiding role over the other toys, reassuring them and acting as their leader. The story’s exposition and resolution occurs when the toys are most anxious; Andy’s birthday and Christmas. They biggest fear is being replaced and this is the same for Woody. Exposing his anxiety also exposes his goal. We discover Woody’s motivation through his downfall. He’s demoted from his position as Andy’s favourite toy by Buzz Lightyear and has to regain both Andy’s affection and the trust and friendship of his fellow toy while facing his fear of rejection.
We also get to see things from Buzz Lightyear’s perspective as he is Woody’s equal in status. Similar to Woody, Buzz has to overcome obstacles in order to reach some sort of resolution. Buzz has to find a reason for his existence as he breaks through his ignorance. He has to understand that he is a toy and not a real space ranger and accept it.
I never knew there was so much to Toy Story, I’ve always watched it for pleasure, rather than academic purposes but it’s interesting to see the story’s mechanics through a more thorough viewing!
dddmiriamfox 