Learning objective:
To apply key terminology and words to a written investigation based on Narrative or Representation.
Key words: linear narrative, Split-screen narratives: Three-strand narratives:
Flexi-narrative: Flashbacks, Point-of-view shots, Apparently impossible positions, Privileged spectator position, Enigma codes, Action codes
With linear narrative, the audience is introduced to the hero/heroine and the world in which he/she lives. Then that world is disrupted. Linear narrative was an idea considered by the theorist Todorov; he decided that the narrative progressed through certain chronological stages:
Split-screen narratives: this technique often occurs in television drama whereby the screen is split into three or four sections with different narratives going on in each small screen
Three-strand narratives: this is a common narrative technique of regular television crime dramas.
At the beginning of the programme three narratives will be introduced, e.g. continuing tensions between colleagues, the investigation of a case that started in a previous episode and a case that is new for
that particular episode. As the programme develops the narrative strands interweave until the final conclusion. One of the strands may continue into the next episode and the others may finish in this episode. This will attract both loyal and ‘one off’ viewers.
Flexi-narrative: this is a more complex narrative structure with layers ofinterweaving narratives. This technique challenges the audience and keeps them watching. There will be twists and turns andsurprises, and characters will become more complex. A good example is The Killing where the audience is led along various narrative lines. At the end of each episode, there is always a surprise or a narrative twist which challenges what the audience assumed. This use of a cliffhanger encourages them to watch the next episode
Flashbacks are used to give the audience additional information. They may also involve viewers with a
character by showing them aspects of the character’s past which contribute to their understanding of the narrative. They are also a means of manipulating time and space within the narrative, for example, Life on Mars.
Point-of-view shots allow the audience to see the action from different perspectives. The camera may position the audience as the eyes of the murderer or the victim or may move between the two in order to
build tension.
Apparently impossible positions give the audience a view of the action from an unusual position, for example, in the air or from behind a wall. Audiences tend to accept this view if the narrative itself is believable, as this enhances their involvement. In crime dramas you may be watching the crime from above.
This clearly increases the tension of the scene.
Privileged spectator position places viewers in a superior position within the narrative. The audience is shown aspects of the narrative that other characters cannot see. For example, a close-up showing a character taking a knife out of her pocket. The audience can then anticipate the action that follows later in
the narrative.
Enigma codes are used in both moving image and print texts. In television crime dramas the camera may only show some of the narrative, leaving the audience with unanswered questions. This is part of the
appeal of a crime drama, as the audience will enjoy solving the crime.
Action codes are shorthand for advancing the narrative quickly. The packing of a suitcase signifies a journey; the placing of a gun in its holster suggests action.
Voice-over is used to move the action on or to fill in missing information.
To apply key terminology and words to a written investigation based on Narrative or Representation.
Key words: linear narrative, Split-screen narratives: Three-strand narratives:
Flexi-narrative: Flashbacks, Point-of-view shots, Apparently impossible positions, Privileged spectator position, Enigma codes, Action codes
With linear narrative, the audience is introduced to the hero/heroine and the world in which he/she lives. Then that world is disrupted. Linear narrative was an idea considered by the theorist Todorov; he decided that the narrative progressed through certain chronological stages:
Split-screen narratives: this technique often occurs in television drama whereby the screen is split into three or four sections with different narratives going on in each small screen
At the beginning of the programme three narratives will be introduced, e.g. continuing tensions between colleagues, the investigation of a case that started in a previous episode and a case that is new for
that particular episode. As the programme develops the narrative strands interweave until the final conclusion. One of the strands may continue into the next episode and the others may finish in this episode. This will attract both loyal and ‘one off’ viewers.
Flexi-narrative: this is a more complex narrative structure with layers ofinterweaving narratives. This technique challenges the audience and keeps them watching. There will be twists and turns andsurprises, and characters will become more complex. A good example is The Killing where the audience is led along various narrative lines. At the end of each episode, there is always a surprise or a narrative twist which challenges what the audience assumed. This use of a cliffhanger encourages them to watch the next episode
Flashbacks are used to give the audience additional information. They may also involve viewers with a
character by showing them aspects of the character’s past which contribute to their understanding of the narrative. They are also a means of manipulating time and space within the narrative, for example, Life on Mars.
Point-of-view shots allow the audience to see the action from different perspectives. The camera may position the audience as the eyes of the murderer or the victim or may move between the two in order to
build tension.
Apparently impossible positions give the audience a view of the action from an unusual position, for example, in the air or from behind a wall. Audiences tend to accept this view if the narrative itself is believable, as this enhances their involvement. In crime dramas you may be watching the crime from above.
This clearly increases the tension of the scene.
Privileged spectator position places viewers in a superior position within the narrative. The audience is shown aspects of the narrative that other characters cannot see. For example, a close-up showing a character taking a knife out of her pocket. The audience can then anticipate the action that follows later in
the narrative.
Enigma codes are used in both moving image and print texts. In television crime dramas the camera may only show some of the narrative, leaving the audience with unanswered questions. This is part of the
appeal of a crime drama, as the audience will enjoy solving the crime.
Action codes are shorthand for advancing the narrative quickly. The packing of a suitcase signifies a journey; the placing of a gun in its holster suggests action.
Voice-over is used to move the action on or to fill in missing information.
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