Narrative Conventions
Storytelling has been the basis of creativity since humans have been able to communicate. There are characteristics of an effective story, and these basic characteristics are consistent regardless of where they are coming from or who is telling them. This idea essentially contends that all stories follow a static set of events that play out in a certain way, therefore the basis of all stories in all forms follow a set of unwritten rules that engage an audience and express an altered sense of reality.
Under the pavement narrative conventions
Dramatic stories are often told using the 3-act structure due to the complex narrative and the idea that actions speak louder than words. Characters need to have a specific goal in mind, and they often must traverse certain obstacles to achieve them. In my SAT, the protagonist’s goal is to find his sister, but his journey there teaches him an internal lesson about the threat he is considered to others. Through learning this lesson, the protagonist has a moment of Anagnoris (realisation) and he develops as a person. The first act shows the protagonist using his inherited sense of confidence and authority as a tool to get what he wants; a girl. He falls into act two (literally) as what he wants changes. After a call from his sister, he is pulled into a new world where he faces a choice. Through the use of a climax and catharsis, the film will illustrate the protagonists’ journey to a realization that he must change.
This narrative follows a simple linear timeline. It follows the protagonist as night falls, and the demons come out of their hiding places. Through setting the story as the sunsets, it is a metaphorical note on the protagonist. He is happy, and having a good time when the sun is out, but when it is down he hits his low. The film is also shot through the protagonists eyes, and by doing this the audience will be able to relate to his choices and have more empathy towards his questionable actions.
The first time we see the protagonist, he is sitting in a bar, celebrating his birthday with drinks. He emits a confident, but dangerous persona, you wouldn’t want to cross him. He acts like he owns the place. The first words that come out of his mouth are sleazy, instantly telling the audience that he is not a likeable guy. He then preys on a girl, and gets what he deserves (he is knocked out). After a call from his sister, he goes on a nigh-time journey to find her, and through this travel he comes to realise the paranoia and terror he inflicts on others. From the inciting incident (when he first meets the girl), I will control the narrative to go down a literal path of self discovery. The protagonists’ character develops due to the events he endures, and he eventually realises his faults at the end. He fits into a moral character arc, where the thought that deep down, human nature is good is present. It essentially shows a dangerous or conventionally ‘bad’ character’s journey to goodness. When the protagonist in my film realises the affect his own action has on others, he becomes a better person and embraces a new empathetic view towards others.
Narrative conventions refers to the elements and techniques employed by a writer to make meaning in a story, therefore including aspects such as character development, setting and point of view. After studying the 3-act structure and the monomyth, I have created a screenplay that shows a character go through certain events to come out changed for the better. It is difficult to create an obvious arc in the protagonist due to time constraints, but with the use of written codes on the walls and Costa’s own words staring back at him, I will be able to achieve a climax that is relies both on the visual and emotional situation in the underpass. Through using such structures, the story will become more interesting and engaging for an audience, as they won’t be spoon fed every piece of information. The monomyth has influenced my screenplay, and although I have lightly brushed over certain areas, I have written the narrative’s end to link back to the start, this is both more satisfying and engaging as it gives a sense of completion to the audience.
Although I have noted that due to time constraints, it may be harder to follow the full story circle, yet it is still doable. The structure asks for an inciting incident, a turning point, a climax and a resolution. This is essentially the main format of most films, and even though I have constraint of the amount of time my film can be, I think that it is reasonable enough and will get done. The inciting incident in my film is when the protagonist shows his attraction to the waitress, he therefore follows her outside and the story gets going. The turning point is when she beats him up and leaves him alone, the climax is when he realises his actions while being beat up by a violent man, and the resolution see’s him being arrested and paying for his actions.
As seen in Joseph Campbells media studies, it is clear that there are typical character archetypes in the hero’s journey. From the mentor, to the shapeshifter to the shadow, the best narratives integrate certain personalities and non-physical forces to push the story forward. In my SAT, two main character archetypes of the shapeshifter and the shadow are present.
The shapeshifter refers to a character that changes, they may start off as seemingly helpful or harmless, but they will betray the hero in one way or the other. This is shown through the story, as the main female character ‘Essie’ is present throughout the film. She starts off harmless, but takes her anger our on Costa and although she is not present in the end of the film, another force metaphorically stabs Costa in the back. He beats her up, and she gets back at him.
Another typical archetype in entertainment is the shadow. ‘The shadow is usually the villain in the story, although this might not necessarily be true. For example, if something exists to cause conflict or create a threat the hero has to overcome, it would be considered the shadow.’ Essentially, the shadow is present in Costa, and he comes to realise the force of evil living within him. Costa’s moral stance is something he comes to struggle against once he is faced with the truth, and this shadow mirrors what Costa is afraid of. Through the use of a visual code of Costa’s own words written on the wall along with everyone else’s, he comes to a an instant space of self-reflection and realises the impact of his words and actions.
Although the narrative includes these certain archetypes, the characters have other personality traits that make them unique and more relatable. Costa starts off a villainous type man, but he comes around and realises the consequences to his actions, therefore changing who he is. Through this, the characters develop significantly, but the actual narrative also comes full circle and engages a satisfied audience.
Archetypes research: https://innovativeliteracy.com/character-archetypes-joseph-campbell/
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