Narrative and its 6 codes

The 6 Narrative Codes:

• Technical Code
• Verbal Code
• Symbolic Code
• Structure
• Character
• Narrative Conflict.

Technical Code:   This refers to all aspects of narrative construction that involve technical decision making. Therefore anything to do with camera angles and movement, lighting , props , shot framing and composition : design , layout and editing.

Verbal Code:   The use of language, written and spoken- and signs learnt in graphics. We learn a lot about a narrative from what we are told in this way, but the best narratives show not tell leaving the audience to draw their own conclusions.

Symbolic Code:  These are signs contained in the narrative that we decide as being significant and have meaning. E.g. a ragged coat worn by a character may mean that they are poor and possibly hungry.

Structure:   Russian Theorist , Tzvetan Todorov suggest6s that all narratives follow a three part structure. The simple formula can be applied to virtually all narratives about a beginning middle and end.

Character: Todorov came up with his theories after making a study of Russian folk tales- there is usually just a hero + villain.

• Protagonist = hero (most screen time)
• Antagonist  = villain (gets in protagonists way)
• Heroine = prize for the hero = feminine heroine = male protagonist.
• Father = An authority figure who offers a reward tot he hero for completing their quest.
• Helper = helps the hero = side kick
• Donor = gives the hero something - a clue or power- which helps them complete their quest.
• Mentor = Teaches and guides the hero.

Narrative Conflict:
As well as Aristotle deciding that 'all drama is conflict' in the 4th century BC, 20th century theorist Claude Levi-Strauss suggested that all narratives had to be driven forward by conflict that was cause by a series of opposing forces. he called this the theory of Binary Opposition, and it is used to describe how each main force in a narrative has its equal and opposite. Analysing a narrative means identifying these opposing forces

light/dark	good/evil	noise/silence	youth/age
right/wrong	poverty/wealth	strength/weakness	inside/outside

and understanding how the conflict between them will drive the narrative on until, finally, some sort of balance or resolution is achieved.