Research: Todorov narrative theory (1969)

 

Robert McKee states that research is a lengthy and vital process in order to proceed with screenwriting. He explains that 'day after day a huge stack grows on the side of his desk: but these are biographies, the fictional world and it's history, thematic notions, images etc. Research and imaginings of all kinds fill a file cabinet while the story is disciplined to the step outline. Finally, after weeks or months, the writer discovers his story climax.'

In this regard, I shall proceed with my research early on, before even attempting to write my screenplay,  in order to gather an in depth background of the subject matter and characters I  wish to represent. This will enable me to discover my main character's motivations, fears, goals, behaviour and how they speak. Ultimately, I will be able to find the direction for my screenplay.

TODOROV:

In order to guide me with the ordering and nature of my scenes in the film, I reviewed Todorov's narrative theory. 

Tzvetan Todorov theorises that every narrative adheres by a standard structure.

1. EQUILIBRIUM

During the first part of the story, the situation is calm and everything is as it should be. 

2.  DISRUPTION

The second part of the story represents an incident which will disturb the happiness.

Realisation

3. REALISATION

The third part of the story represents when the problem is recognised by the characters.

4. RESTORED ORDER 

The fourth part of the story represents the characters trying to fix the problem.

5. EQUILIBRIUM

The final part of the story represents the problem being solved.

EVALUATION: 

This theory can be criticised for being too simplistic and rigid, for it assumes that a fixed narrative structure can be applied to every film. However, modern texts are particularly more complex than Todorov suggests, for they explore more unique possibilities for the narrative, which opposes the traditional narrative structure. In this sense, his theory can be perceived to be outdated. 

If we analyse Fight Club (1999) it is apparent that its structure opposes this theory. The film commences with the issue; Edward Norton is trying to cure his insomnia. Evidently, the film immediately starts with the disruption and skips the first stage of Todorov's theory, which is equilibrium, 

MY APPLICATION: 

After gaining an understanding of this theory, I am going to adapt aspects of this structure, without sticking rigidly by it, in attempt to freely use my own creativity. As I am producing a short psychological film, my intent is to capture the attention of my audiences immediately, thus it will be logical to commence the story with a DISRUPTION. I aim to do this through a nightmare sequence, representing the protagonists' mental distress. In this scene, I have a vision of the protagonist being entrapped within a circus. 

Accordingly, my narrative structure skips the first step of Todorov’s theory, but complies with the rest, as shown below. 

1. DISRUPTION: the protagonist suffers from social anxiety and finds it difficult to interact in her everyday life. 

2. REALISATION: through reflecting upon her past, the character eventually recognises the source of her problem and understands that she must confront it  

3. RESTORED ORDER: the character aims to fix her mental disturbance by replacing the negative voices in her mind, with more relaxing and positive ones

4. EQUILIBRIUM: The character feels more at ease with other people and she is taking steps to be better able to function in her everyday life normally.

It is also important to realise that this represents the equilibrium as the character is more content in her life, although she isn’t fully cured, she is finally on the right route of self-improvement.