1. Binary opposition
Since “narrative is set in train by the establishment of some kind of conflict” (pg. 85),
one way of understanding narrative structure is through this opposition. Conflict
arises from the irreconcilable differences between two forces, and so binary
opposition becomes a handy tool for further dissection. Binary opposition lists the
characters, symbols, motifs, etc. of the contrary forces side by side in a list. The more
obscure the items in the list, the more it will help us in interpreting the movie, which
may includes scenes that seem bizarre or ambivalent. In Shane, the obvious binary
opposition is between the homesteaders and the ranchers. The homesteaders represent
hard work, sustainability, prudence, and creation, whereas, the ranchers represent
idleness, profitability, wantonness, and destruction. Instantly, we discern the good and
the evil in the plot. However, when we see Shane crossing the line of the “good” and
being bestowed the mark of a destructor, he is not so “good” anymore; there is also an
“evil” side to him.
2. Structuralism
Structuralism can be used to understand film narrative through analyzing the
underlying structures of the plot. Since Structuralists sees a narrative in the context of
other narratives, their approach may be more universal and feasible with all the
narrative systems. For example, binary opposition is one way to break up a narrative.
Another is by looking at the development of the plot. Todorov provides his concept:
first, the beginning is at a state of “plenitude”; then, someone or something comes
along and upsets it; after that, someone or something has to oppose this disruption;
and in the end, it is back in plenitude. An example of this can be found in Casablanca.
In the beginning, Rick is a cynical lone-wolf, but with the appearance of Ilsa, his
world is suddenly swept over with the rush of old memories, and soon he tries to
come to terms with Ilsa on their thwarted love, and finally Rick is back to a life
without Ilsa, and a changed man.
3. Codes and conventions
Film narrative uses a variety of codes and conventions that we often take for granted.
Codes are what enable a sign to be meaningful; they’re “systems by which signs are
organized and accepted within a culture.” When we see a film character act in a
specific way or speak with a specific accent, we instantly refer to our previous
experience of them, whether in another film or in real life. These characteristics serve
as a kind of code for us to understand the film character. In Casablanca, the black
market dealer who has stolen two letters of transit, Ugarte, is portrayed with an Italian
accent and slicked-back hair, and a short stature; all this gives us an impression of a
knavish character, not unlike a mugger. As for conventions in movie language, it is
similar to codes in that they are “systems which we all agree to use.” Conventions in
film enable the director to communicate effectively to viewers. For example, in
Casablanca, when Ilsa decides to steal away at midnight to meet Rick, in one scene,
she puts on her coat and leaves, and in the other scene, she’s already waiting for Rick
at his apartment. We do not need to see her walking on the way, climbing the stairs,
etc., because we suppose she has done all that. We are shown only part of the whole
process, yet it does not hinder our grasp of the plot. This is only one of many film
conventions.
4. Genre
Genre is a grouping of narrative styles. In film genre, there may be the film noir, the
adventure film, the teen movie, and many more. However, a film supposes that the
audience recognizes its genre through the context of other films. After watching a few
movies, viewers will know what to expect from a particular genre. For example,
Shane is a western, and it is supposed to take place in the western part of the U.S., a
frontier land, and has cowboys and gunslingers for characters, and with a conflict that
is resolved with a gunfight. However, the traits and structure of a genre may be
subject to change. For example, usually the protagonist in a western is a “good guy,”
one who protects the weak and who will not use violence readily. But soon, there
were starting to have westerns that use “bad guys” as main characters, as in Butch
Cassidy and the Sundance Kid. The “bad guys” may be thieves and criminals, yet they
are lovable and serve as an alternative to social norms.