Our AS coursework product 'Conflict' conforms with several narrative theories. Although we only filmed the opening, we had the key narrative elements within that and also the storyboard/treatment serves well in supporting this analysis.
One theory that can be applied is Strauss' theory of binary oppositions as when events take a turn for the worst and the protagonist is in the alleyway, the lighting in front of the protagonist is light whereas the lighting the threatening youths is very dark and blacks out all of their features, leaving only silhouettes, which creates further enigma. This mis-en-scene encapsulates binary opposition at its best, as it helps clearly portray the roles of the victim and the oppressor.
Another theory that can be applied is Todorov's three part structure which begins with an equilibrium, then a disruption which causes disequilibrium, and at the end a resolution where a new equilibrium is reached. In Conflict the equilibrium consisting of the protagonist's life is established using establishing shots such as of him walking down the road, listening to music in an ordinary manner and also lighting to depict a normal day. The disruption occurs as the main character encounters danger from a group of antagonists, and in the opening there is no resolution as otherwise the film would be completely pointless. This 'cliffhanger' effect used early on in the narrative is to hook the audience to the product.
A contemporary theory that can be applied is Allan Cameron's 'modular narratives' theory (2009). His theory has 5 parts, and relates mostly to modern cinema. Only one part can really be applied to Conflict. Cameron suggests that products can be 'anachronic' which means that flashbacks/flashforwards and a general lack of chronological structure is used as a key feature of the narrative. In my film, this is the case as is seen in the opening which further on turns out to be a flashback. By using this method we hoped to make the narrative more exciting and complicated for the audience to decipher, in the hope of gaining full attention and also just to experiment with alternate filmmaking.
One theory that can be applied is Strauss' theory of binary oppositions as when events take a turn for the worst and the protagonist is in the alleyway, the lighting in front of the protagonist is light whereas the lighting the threatening youths is very dark and blacks out all of their features, leaving only silhouettes, which creates further enigma. This mis-en-scene encapsulates binary opposition at its best, as it helps clearly portray the roles of the victim and the oppressor.
Another theory that can be applied is Todorov's three part structure which begins with an equilibrium, then a disruption which causes disequilibrium, and at the end a resolution where a new equilibrium is reached. In Conflict the equilibrium consisting of the protagonist's life is established using establishing shots such as of him walking down the road, listening to music in an ordinary manner and also lighting to depict a normal day. The disruption occurs as the main character encounters danger from a group of antagonists, and in the opening there is no resolution as otherwise the film would be completely pointless. This 'cliffhanger' effect used early on in the narrative is to hook the audience to the product.
A contemporary theory that can be applied is Allan Cameron's 'modular narratives' theory (2009). His theory has 5 parts, and relates mostly to modern cinema. Only one part can really be applied to Conflict. Cameron suggests that products can be 'anachronic' which means that flashbacks/flashforwards and a general lack of chronological structure is used as a key feature of the narrative. In my film, this is the case as is seen in the opening which further on turns out to be a flashback. By using this method we hoped to make the narrative more exciting and complicated for the audience to decipher, in the hope of gaining full attention and also just to experiment with alternate filmmaking.
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