Application of narrative theories to EARNEST
As part of our end of year AS Level coursework, we were tasked with creating a short two minute length film to a genre of our own choice. We were entirely responsible for the development of a narrative, storyline, setting and characters. As a group we agreed we wanted to think outside of the box in terms of the genre and decided to make an adaptation of a literary classic. We made a modern lighthearted adaptation of the classic Oscar Wilde play, The Importance of Being Earnest hence the name of the project EARNEST. In order to modernise the story we incorporated elements of social media and and the concept of online cat-fishing. There are multiple narratives that can be applied to this unusual story:
The work of Claude-Levi Strauss and his notion of Binary Opposition is applicable to our project EARNEST as the conflict of honesty vs deception is a major element of the plot. In the short film we have two central characters (Jay and Ali) who both decide to get involved in online cat fishing, which provides an escapism for them from their home lives. Cat fishing is defined as the deception of beginning a relationship with someone online with the use of a fake profile or identity. The excitement the boys find from cat fishing creates an element of lighthearted adventure, but there is the underlying issue of deception to each other and the female characters they are talking to (who happen to be each other's cousins). The boys sneak behind each other's back and it seems there is a lack of honesty overall in the story. The conflict comes from their temptation to confess their plan to each other, but instead they remain dishonest against their better judgement as a way to feel in control of something.
A number of Roland Barthes' narrative codes can be applied to EARNEST, the primary one being the hermeneutic code (enigma codes in other words). Enigma codes are essentially puzzles to the audience, they are things in the narrative that make the audience ask questions and the answers to these questions are revealed slowly through out the narrative process. One of the first questions the audience are faced with is the question of the boys' motives behind their deceiving actions online. The audience learns that the boys are not malicious characters, they are simply bored, lonely and repressed in their pressure filled home lives. One of the boys Jay (also known as Oscar by his online alter ego) describes how his father continually tells him "Jay don't do this, Jay don't do that" which indicates to the audience that his reasoning behind cat fishing is to feel in control of something that his father has no knowledge over, thus answers the audiences questioning his motives and fulfilling the enigma code. The second of Barthes' five narrative codes that is relevant to EARNEST is the proairetic code (action codes).
Proairetic codes describe any action which moves the narrative forward. This is relevant to EARNEST as in the plot the boys discover they both have the same cat fishing plan when Ali sees Jay's fake profile on Jay's phone. This leads to a physical confrontation between the boys in which they struggle over the phone. Another narrative code that can be applied to EARNEST is the symbolic code.
Symbolic codes organises meaning into broader and deeper sets of meaning. This is typically done through the use of binary opposition, where new meaning arises out of opposing and conflicting ideas. However, there are a number of notable symbols woven into EARNEST, in particular the area of costuming. We had Conor, who played Jay (Oscar), dress in darker colours and shades of red which contrasted with Anuerin (Ali) who was dressed in bright vibrant shades of blue. We used these colours as symbols to represent the individual personalities of the boys. The bright blue colours Anuerin was wearing reflected the confidence of his character Ali, and the darker, faded red Conor was wearing highlighting the quiet element of his character. The confidence of Anuerin's character and the colours of blue in his costuming is reinforced by the Superman he was wearing. The final code that can be applied to EARNEST is the cultural code (referential codes).
Cultural codes refer to the incorporation of cultural elements that are read with understanding. For example, in EARNEST the main outdoor setting of the film was in Belfast City Centre outside City Hall. We used multiple shots of City Hall and the surrounding grounds. The use of the Superman t-shirt in Anuerin's costuming reflects the popularity of the marvel and DC universes in modern teenage culture.
Syd Field's formulaic approach to film structure in three acts is applicable to EARNEST. The process begins with 'the set up' which is then followed by 'the confrontation' and ends with 'the resolution'. The narration sets up the narrative for EARNEST, and the narration of EARNEST is unique as there is more than one narrator (the narration and shots cut between both of the boys). This set up leads to the confrontation between the boys over Jay's phone in the city centre. The resolution follows when the boys discuss the situation and accept each others actions.
The comprehension of time is essential when analysing the narrative of a film. The fact that very few screen stories take place in real time is a part of the comprehension of time means this area of narrative theory can be applied to EARNEST. Both of the boys travelled from their homes into the City Centre, and this travel time takes up a few seconds of the film when in reality it could take up to 30 minutes depending on where they live. Although there are a number of narrative theories that are applicable to EARNEST, there is also the flip side in which there are narrative theories that do not apply to EARNEST and many of these theories share similar reasons as to why they are not applicable to EARNEST (for example the work is based on a different genre, the length of the short film does not allow for the development needed for the theories to be applied)
One of the main theories that does not apply to EARNEST is Propp's narrative functions of characters. Props studied Russian folk stories and identified 31 functions of characters. There are seven in particular that are the most important to note: the hero, the villain, the donor, the helper, the princess, the false hero and the dispatcher. Due to the fact that Propp's work on character functions is based on his research on folk stories and fairy tales, these character functions are easier to apply to fictional stories. There are only two developed characters in EARNEST, with short cameos from two minor characters, meaning we can't apply Propp's seven character functions to EARNEST.
Joseph Campbell's work is also based on his research of myths and legends common to most cultures, which makes it difficult to apply to EARNEST which is a literary adaptation. It does not apply to EARNEST for reasons similar to Propp's character functions. Campbell proposed a 'universal monomyth' that is essentially condensed into basic hero narratives that for the basis of the myths and legends that he studied. These basic hero narratives were proposed in accordance with his studying of fairytales, myths and legends which does not apply to EARNEST.
Another example of a theorist whose work does not apply to EARNEST due to the difference in genre, is Noel Carroll. Noel Carroll identified a three part structure for horror films. This three part structure starts with the 'onset phase' where a disorder is created, followed by the 'discovery phase' of the disorder and its ends with the 'disruption phase' in which characters destroy the source and restore normality. The plot of EARNEST does not follow this three part structure in any way.
Another narrative theory that is not applicable to EARNEST is Todorov's theory. He suggested that the conventional narrative methods are structured into five stages: a state of equilibrium, a disruption of the equilibrium, a recognition of the disruption, an attempt to repair the disruption and a reinstatement of the equilibrium (with a few small changes). Due to the length of the film being so short at 1 minute and 40 seconds it is difficult to apply this long process to any short film. An alternative to Todorov is Robert McKee, who's similar theory of dividing events into five stages also does not apply to EARNEST. It begins with an inciting incident that gets the story going. This is followed by progressive complications and a crisis. Finally there is a climax, and it ends in a resolution. These five stages are easier to apply to full length action films in comparison to EARNEST which is a short literary adaptation.
Allan Cameron is another example of a theorist who's work on narrative theory does not apply to EARNEST. Cameron identified four different types of modular narrative: anachronic, forking-path, episodic and split screen. The anachronic modular narrative includes modified flashbacks and flash forwards, with no clear dominance between narrative threads. This particular narrative is not applicable to EARNEST as although there is the inclusion of dream like shots of the female characters, there are no flashbacks or flash forwards. The forking path narrative refers to alternate versions of the story that depict different outcomes that result from slight changes. This is not relevant to EARNEST as the structure of the narrative is not split into a forking path. Although both boys play a part in the narration of EARNEST, there is not a forking path narrative as there is not the inclusion of alternate endings or events as the result of changes in the plot. The episodic modular narrative also does not apply to EARNEST as it requires a collection of stories tied together by a common theme, which is used more in television shows than in films (for example The Simpons Treehouse of Horror Special). The last of Cameron's modular narratives is the split screen which also is not applicable to EARNEST for similar reasons to the others. Split screen, like the episodic modular narrative, is used more in television shows (24 for example). It involves the use of spatial lines rather than temporal lines where there is a physical lines or separation on screen. This is not applicable to EARNEST as all of our shots showed only one setting at a time.
Another theory that can not be applied to EARNEST is the work of Kate Domaille and the eight narrative types she posed. She stated that every story ever told can be fitted into one of her eight narratives. All of these narrative types have a source from which they are based and built on. These stories include achilles (a flaw that leads to the destruction of the previously flawless) candide (the indomitable hero) cinderella (the dream comes true with fairytale theme) circe (the chase, the spider, the fly and the victim) faust (selling your soul to the devil may bring riches but eventually your soul will belong to him) orpheus (the loss of something special) romeo and juliet (romance story with tragic elements) and finally the Tristan and Iseult (the love triangle). None of these narratives apply to EARNEST which is a literary adaptation. There are many modern literary adaptations, however it is not the most common or popular genre making it difficult to apply many narrative theories.
The work of Claude-Levi Strauss and his notion of Binary Opposition is applicable to our project EARNEST as the conflict of honesty vs deception is a major element of the plot. In the short film we have two central characters (Jay and Ali) who both decide to get involved in online cat fishing, which provides an escapism for them from their home lives. Cat fishing is defined as the deception of beginning a relationship with someone online with the use of a fake profile or identity. The excitement the boys find from cat fishing creates an element of lighthearted adventure, but there is the underlying issue of deception to each other and the female characters they are talking to (who happen to be each other's cousins). The boys sneak behind each other's back and it seems there is a lack of honesty overall in the story. The conflict comes from their temptation to confess their plan to each other, but instead they remain dishonest against their better judgement as a way to feel in control of something.
A number of Roland Barthes' narrative codes can be applied to EARNEST, the primary one being the hermeneutic code (enigma codes in other words). Enigma codes are essentially puzzles to the audience, they are things in the narrative that make the audience ask questions and the answers to these questions are revealed slowly through out the narrative process. One of the first questions the audience are faced with is the question of the boys' motives behind their deceiving actions online. The audience learns that the boys are not malicious characters, they are simply bored, lonely and repressed in their pressure filled home lives. One of the boys Jay (also known as Oscar by his online alter ego) describes how his father continually tells him "Jay don't do this, Jay don't do that" which indicates to the audience that his reasoning behind cat fishing is to feel in control of something that his father has no knowledge over, thus answers the audiences questioning his motives and fulfilling the enigma code. The second of Barthes' five narrative codes that is relevant to EARNEST is the proairetic code (action codes).
Proairetic codes describe any action which moves the narrative forward. This is relevant to EARNEST as in the plot the boys discover they both have the same cat fishing plan when Ali sees Jay's fake profile on Jay's phone. This leads to a physical confrontation between the boys in which they struggle over the phone. Another narrative code that can be applied to EARNEST is the symbolic code.
Symbolic codes organises meaning into broader and deeper sets of meaning. This is typically done through the use of binary opposition, where new meaning arises out of opposing and conflicting ideas. However, there are a number of notable symbols woven into EARNEST, in particular the area of costuming. We had Conor, who played Jay (Oscar), dress in darker colours and shades of red which contrasted with Anuerin (Ali) who was dressed in bright vibrant shades of blue. We used these colours as symbols to represent the individual personalities of the boys. The bright blue colours Anuerin was wearing reflected the confidence of his character Ali, and the darker, faded red Conor was wearing highlighting the quiet element of his character. The confidence of Anuerin's character and the colours of blue in his costuming is reinforced by the Superman he was wearing. The final code that can be applied to EARNEST is the cultural code (referential codes).
Cultural codes refer to the incorporation of cultural elements that are read with understanding. For example, in EARNEST the main outdoor setting of the film was in Belfast City Centre outside City Hall. We used multiple shots of City Hall and the surrounding grounds. The use of the Superman t-shirt in Anuerin's costuming reflects the popularity of the marvel and DC universes in modern teenage culture.
Syd Field's formulaic approach to film structure in three acts is applicable to EARNEST. The process begins with 'the set up' which is then followed by 'the confrontation' and ends with 'the resolution'. The narration sets up the narrative for EARNEST, and the narration of EARNEST is unique as there is more than one narrator (the narration and shots cut between both of the boys). This set up leads to the confrontation between the boys over Jay's phone in the city centre. The resolution follows when the boys discuss the situation and accept each others actions.
The comprehension of time is essential when analysing the narrative of a film. The fact that very few screen stories take place in real time is a part of the comprehension of time means this area of narrative theory can be applied to EARNEST. Both of the boys travelled from their homes into the City Centre, and this travel time takes up a few seconds of the film when in reality it could take up to 30 minutes depending on where they live. Although there are a number of narrative theories that are applicable to EARNEST, there is also the flip side in which there are narrative theories that do not apply to EARNEST and many of these theories share similar reasons as to why they are not applicable to EARNEST (for example the work is based on a different genre, the length of the short film does not allow for the development needed for the theories to be applied)
One of the main theories that does not apply to EARNEST is Propp's narrative functions of characters. Props studied Russian folk stories and identified 31 functions of characters. There are seven in particular that are the most important to note: the hero, the villain, the donor, the helper, the princess, the false hero and the dispatcher. Due to the fact that Propp's work on character functions is based on his research on folk stories and fairy tales, these character functions are easier to apply to fictional stories. There are only two developed characters in EARNEST, with short cameos from two minor characters, meaning we can't apply Propp's seven character functions to EARNEST.
Joseph Campbell's work is also based on his research of myths and legends common to most cultures, which makes it difficult to apply to EARNEST which is a literary adaptation. It does not apply to EARNEST for reasons similar to Propp's character functions. Campbell proposed a 'universal monomyth' that is essentially condensed into basic hero narratives that for the basis of the myths and legends that he studied. These basic hero narratives were proposed in accordance with his studying of fairytales, myths and legends which does not apply to EARNEST.
Another example of a theorist whose work does not apply to EARNEST due to the difference in genre, is Noel Carroll. Noel Carroll identified a three part structure for horror films. This three part structure starts with the 'onset phase' where a disorder is created, followed by the 'discovery phase' of the disorder and its ends with the 'disruption phase' in which characters destroy the source and restore normality. The plot of EARNEST does not follow this three part structure in any way.
Another narrative theory that is not applicable to EARNEST is Todorov's theory. He suggested that the conventional narrative methods are structured into five stages: a state of equilibrium, a disruption of the equilibrium, a recognition of the disruption, an attempt to repair the disruption and a reinstatement of the equilibrium (with a few small changes). Due to the length of the film being so short at 1 minute and 40 seconds it is difficult to apply this long process to any short film. An alternative to Todorov is Robert McKee, who's similar theory of dividing events into five stages also does not apply to EARNEST. It begins with an inciting incident that gets the story going. This is followed by progressive complications and a crisis. Finally there is a climax, and it ends in a resolution. These five stages are easier to apply to full length action films in comparison to EARNEST which is a short literary adaptation.
Allan Cameron is another example of a theorist who's work on narrative theory does not apply to EARNEST. Cameron identified four different types of modular narrative: anachronic, forking-path, episodic and split screen. The anachronic modular narrative includes modified flashbacks and flash forwards, with no clear dominance between narrative threads. This particular narrative is not applicable to EARNEST as although there is the inclusion of dream like shots of the female characters, there are no flashbacks or flash forwards. The forking path narrative refers to alternate versions of the story that depict different outcomes that result from slight changes. This is not relevant to EARNEST as the structure of the narrative is not split into a forking path. Although both boys play a part in the narration of EARNEST, there is not a forking path narrative as there is not the inclusion of alternate endings or events as the result of changes in the plot. The episodic modular narrative also does not apply to EARNEST as it requires a collection of stories tied together by a common theme, which is used more in television shows than in films (for example The Simpons Treehouse of Horror Special). The last of Cameron's modular narratives is the split screen which also is not applicable to EARNEST for similar reasons to the others. Split screen, like the episodic modular narrative, is used more in television shows (24 for example). It involves the use of spatial lines rather than temporal lines where there is a physical lines or separation on screen. This is not applicable to EARNEST as all of our shots showed only one setting at a time.
Another theory that can not be applied to EARNEST is the work of Kate Domaille and the eight narrative types she posed. She stated that every story ever told can be fitted into one of her eight narratives. All of these narrative types have a source from which they are based and built on. These stories include achilles (a flaw that leads to the destruction of the previously flawless) candide (the indomitable hero) cinderella (the dream comes true with fairytale theme) circe (the chase, the spider, the fly and the victim) faust (selling your soul to the devil may bring riches but eventually your soul will belong to him) orpheus (the loss of something special) romeo and juliet (romance story with tragic elements) and finally the Tristan and Iseult (the love triangle). None of these narratives apply to EARNEST which is a literary adaptation. There are many modern literary adaptations, however it is not the most common or popular genre making it difficult to apply many narrative theories.
Comments
Post a Comment