Narrative theory in my Media products:

A2 Music video narrative analysis.

Ronald Barthes 5 narrative codes:

The enigma code is used in my music videos narrative plot. Since there is a use of time manipulation in my video, the visual properties of the video do not make sense in terms of literal action presented. It is in fact showing me on the sofa in a different period of time from the girl while she is experiencing a range of years events in this 2 minute video Until the viewer figures out the time manipulation is existent, the enigma code will apply to their perception of the music video. This will motivate them to continue watching so they can unravel the mysterious factor of the video. The viewers will continue to watch the video to gain an understanding of the storyline a little better.

Ronald Barthes 5 narrative codes:

The action code is used in my video as the events which take place visually are sequential. A series of different things take place involving the acting of the female performer and this creates a form of suspense which lasts until the end of the video. The action code is also subtly used in my music magazine product for AS. The main storyline featured within the DPS was based on arguments and conflicts within the fictional band members. The symbolic code is used in my magazine, as the use of fonts, colours and layout were all part of what made my magazine appeal to its intended genre and target audience.

Ronald Barthes 5 narrative codes:

The symbolic code is used in various ways in my music video. For instance, the clothing we are both wearing suggests we are different in terms of personality. These personality differences are represented in the form of binary opposites which are clothing suggests via symbolic meaning that we are. (E.g. my clothing suggests I am young, immature, masculine, and uncaring about romance. Whereas hers indicate she is also young, but more mature, caring, feminine and concerned for the progression of relationships.) This use of symbolism creates drama, tension, and quick character development during the music video. The referential code is also used in my music video. This is because there is a reference in the video that represents behavioural stereotypes. My use of clothing, facial expression and body language conform to the social stereotype that I am relatively unfeeling, inconsiderate, perhaps immature and selfish too. In contrast, she seems more caring, mature and emotional, as well as pleasant. This is just based on pure implication of visual properties but this is how the referential code is technically used.

Tzvetan Todorovs equilibrium theory:

My music video challenges the media convention set by this narrative theorist based on how media products with effective narratives possess a process in which there is an equilibrium, a norm state, followed by a disequilibrium in which something goes wrong, concluded with the development of a new equilibrium. In my music video, as the narrative progresses, the norm state is broken when the girl breaks up with the boy, but no new equilibrium is formed. (Not technically, since the involved conflict is not resolved, unless you count her leaving him to end the struggle as both breaking the norm and solving the problem.) My music magazine conforms to it however as the dis-equilibrium is that the band split up in the main storyline, and the new equilibrium is that they go there separate ways and start new single careers.

Equilibrium.

Dis-equilibrium.

No new equilibrium?

Vladimir Propp's character roles:

In my music video, the character roles of Propp are clearly reversed. The male is the protagonist but not the hero since he is not seeking the princess (the female) and instead acts as an uncaring villain visually without consideration of the use of time manipulation within the video. The female is the antagonist but not the villain since she seems to be the more caring one. She seems to be a hero by the end of the video, disregarding further concern for the narrative plot involved. Also, various character roles such as the dispatcher and the donor are not relevant since there are only 2 characters present and none appropriate to fulfil these roles. The 3-man band in my music magazine narrative also tended to conflict with this theory of character roles. The 3 males were represented as equal individuals and no heros or villains were that clearly established even in the DPS.

David Bordwells neo-formalism:

My music video conforms to the theory that media product narratives are consisted of sets of building blocks that are developed through a chain of events. In my video, the problem is clear at the start with my miserable facial expression but it is unclear of the circumstances of the condition I am within. It is at the end after a clear chain of events occur that it is discovered how I am miserable because of the destruction of the relationship. My music magazine does the same. The cover outlines the narrative of the storyline featured. The DPS then analyses and explains the situation to any reader of the magazine and thus after turning to this page and reading the narrative is complete.

Narrative functions:
Absentation: The female at the end of the video. Violation of interdiction: Metaphorically achieved via the female breaking the equilibrium of a working relationship at the end of the video and entering the status quo of being single. Departure: The female hero leaves home. Quite literally. Difficult task: Proposed to hero to leave male partner at the end. Punishment: Villain is punished by being dumped at the end.