Evaluate the relevance of Todorov’s theory of narratology to long form television drama. [10 Marks]
Narratology is the study of narrative and the function or purpose of narrative structure in communicating meaning, messages and values in media products. Todorov’s theory of narratology can be seen to be partly relevant when applying his ideas to long form TV drama. Although his ideas are designed to be applied to films with single narratives and clear resolutions, when applying his theory to long form TV drama, it exposes the complexity of long form drama narratives, which can be seen to be one of the reasons for the form’s success and popularity with audiences. Todorov’s theory of narratology can be seen to be useful, yet also have its limitations, when applied to dramas such as Stranger Things and Deutschland 83.
Todorov described 5 different stages of narratology (Equilibrium, Disruption, Recognition, Repair, New Equilibrium) which provide a simplistic and recognisable storyboard for most media products and narratives. In both long form TV dramas, there is explanation that Todorov’s theory is sufficiently simple to be widely applicable, meaning that it is possible to identify these key elements of narrative. In Stranger Things, there is an equilibrium of a happy, suburban lifestyle in which the boys (Will, Mike, Lucas and Dustin) are playing Dungeons and Dragons in Mikes basement whilst their families get on with normal, everyday activities. The disruption is Will’s obvious and traumatising disappearance in which we witness the joyful mood from the previous equilibrium fade away into horror and fear – mostly conversed through Joyce, Will’s mother. In Deutschland 83, there is an equilibrium of Martin’s girlfriend (Annette), job and family life, in which everyone is happy and balanced when together. The disruption is US President Reagan’s escalation of Cold War conflict in Europe, as shown through the obvious divide between West and East Germany as well as the real-life footage that is strategically placed throughout the episode. A secondary, more personal disruption, when concerning Martin, is his kidnapping and forcing into becoming a spy for the East. These layered disruptions communicate the flexibility of Todorov’s theory in saying it can be used for all different narratives within the dramas. It allows the audience to witness how multiple narrative arcs are established and completed, allowing characters to grow and change. Despite this, the numerous variations of plot that can be analysed through these stages suggests the lack of complexity that the theory can cover.
LFTVD is characterised by complex narratives with multi-faceted characters who may be involved in numerous storylines at once. Due to this, Todorov’s theory can be seen as too simplistic and so this limits its effectiveness in understanding these complex narratives. In both TV dramas, Todorov’s theory does not help to understand narrative strands that do not add to the narrative drive towards resolution but establish characterisation, spiral out from the main linear narrative or create cliff-hangers. In Stranger Things, the introduction of the boys depicts them playing Dungeons and Dragons. This seemingly meek introduction actually creates the beginning of multiple narrative arcs. One of these is in establishing the boys’ characterisations as sci-fi geeks, which is continued through scenes at school where they find excitement in old communication technology. Another narrative arc is the foreshadowing of the upcoming threat towards Will. When Will states that ‘the Demigorgon got [him]’, this draws a possible link between the unseen monster that abducts him and the Demigorgon. The scene in which Steve sneaks into Nancy’s bedroom is another example of the beginning of a side narrative arc. This spirals off of the main linear narrative and begins the story that follows the teenagers (Nancy, Steve and Johnathon), and builds their relationships. Other sub-narratives worth mentioning would be the relationship between Hopper and Eleven, and Hopper and Joyce. These sub-plots allow the series to create a layered narrative that intrigues the audience. In Deutschland 83, the main narrative follows Martin and his experience as a spy in West Germany. A sub-narrative that runs throughout and influences Martin’s narrative, covers the differences between the East and the West. During the scene in which we see Martin ‘s amazement at first entering a Western supermarket, as well as the scene in which he asks where they have the parades in the parks in Bonn, there is an emphasis of comparison of the East and West consumer goods. This comparison is very significant in demonstrating the major differences between both sides and how the Cold war is continuously affecting them.
To conclude, it can be argued that Todorov’s narratology is relevant when analysing the use of narrative in long form TV drama but only to a certain extent. His ideas around equilibrium, disruption, and recognition of disruption are relevant as they allow a useful analysis of o identify the similarities and differences in different genres and products within the form. However, Todorov’s ideas regarding narrative resolution are less relevant but can be considered useful in that they help to identify that there is often no resolution in long form TV drama, which is part of the appeal for audiences. In Stranger Things and Deutschland 83, we can see that the initial equilibrium of the episodes is explored, explained and disrupted, but resolution is absent. Complex narrative arcs are developed within long form TV dramas whether it is an American or European drama. They set up equilibriums which are disrupted and explored in episode 1 enabling the audience to delve deeper into what is disrupted and each drama addresses the questions why, but never with a sense of closure or resolution.
Todorov described 5 different stages of narratology (Equilibrium, Disruption, Recognition, Repair, New Equilibrium) which provide a simplistic and recognisable storyboard for most media products and narratives. In both long form TV dramas, there is explanation that Todorov’s theory is sufficiently simple to be widely applicable, meaning that it is possible to identify these key elements of narrative. In Stranger Things, there is an equilibrium of a happy, suburban lifestyle in which the boys (Will, Mike, Lucas and Dustin) are playing Dungeons and Dragons in Mikes basement whilst their families get on with normal, everyday activities. The disruption is Will’s obvious and traumatising disappearance in which we witness the joyful mood from the previous equilibrium fade away into horror and fear – mostly conversed through Joyce, Will’s mother. In Deutschland 83, there is an equilibrium of Martin’s girlfriend (Annette), job and family life, in which everyone is happy and balanced when together. The disruption is US President Reagan’s escalation of Cold War conflict in Europe, as shown through the obvious divide between West and East Germany as well as the real-life footage that is strategically placed throughout the episode. A secondary, more personal disruption, when concerning Martin, is his kidnapping and forcing into becoming a spy for the East. These layered disruptions communicate the flexibility of Todorov’s theory in saying it can be used for all different narratives within the dramas. It allows the audience to witness how multiple narrative arcs are established and completed, allowing characters to grow and change. Despite this, the numerous variations of plot that can be analysed through these stages suggests the lack of complexity that the theory can cover.
LFTVD is characterised by complex narratives with multi-faceted characters who may be involved in numerous storylines at once. Due to this, Todorov’s theory can be seen as too simplistic and so this limits its effectiveness in understanding these complex narratives. In both TV dramas, Todorov’s theory does not help to understand narrative strands that do not add to the narrative drive towards resolution but establish characterisation, spiral out from the main linear narrative or create cliff-hangers. In Stranger Things, the introduction of the boys depicts them playing Dungeons and Dragons. This seemingly meek introduction actually creates the beginning of multiple narrative arcs. One of these is in establishing the boys’ characterisations as sci-fi geeks, which is continued through scenes at school where they find excitement in old communication technology. Another narrative arc is the foreshadowing of the upcoming threat towards Will. When Will states that ‘the Demigorgon got [him]’, this draws a possible link between the unseen monster that abducts him and the Demigorgon. The scene in which Steve sneaks into Nancy’s bedroom is another example of the beginning of a side narrative arc. This spirals off of the main linear narrative and begins the story that follows the teenagers (Nancy, Steve and Johnathon), and builds their relationships. Other sub-narratives worth mentioning would be the relationship between Hopper and Eleven, and Hopper and Joyce. These sub-plots allow the series to create a layered narrative that intrigues the audience. In Deutschland 83, the main narrative follows Martin and his experience as a spy in West Germany. A sub-narrative that runs throughout and influences Martin’s narrative, covers the differences between the East and the West. During the scene in which we see Martin ‘s amazement at first entering a Western supermarket, as well as the scene in which he asks where they have the parades in the parks in Bonn, there is an emphasis of comparison of the East and West consumer goods. This comparison is very significant in demonstrating the major differences between both sides and how the Cold war is continuously affecting them.
To conclude, it can be argued that Todorov’s narratology is relevant when analysing the use of narrative in long form TV drama but only to a certain extent. His ideas around equilibrium, disruption, and recognition of disruption are relevant as they allow a useful analysis of o identify the similarities and differences in different genres and products within the form. However, Todorov’s ideas regarding narrative resolution are less relevant but can be considered useful in that they help to identify that there is often no resolution in long form TV drama, which is part of the appeal for audiences. In Stranger Things and Deutschland 83, we can see that the initial equilibrium of the episodes is explored, explained and disrupted, but resolution is absent. Complex narrative arcs are developed within long form TV dramas whether it is an American or European drama. They set up equilibriums which are disrupted and explored in episode 1 enabling the audience to delve deeper into what is disrupted and each drama addresses the questions why, but never with a sense of closure or resolution.
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