TASK:



TASK:

Narrative structure, codes, and conventions are used to attract audiences, create representations and satisfy institutions.

In a media text you have studied

(a) explain the narrative structure and/or codes and/or conventions

and

(b) with reference to at least one other Key Aspect, explain how the narrative has been used to attract audiences and/or create representations and/or satisfy institutions.

In your answer, you should link Narrative and at least one other Key Aspect.

Suggested Plan

BREAKING BAD

(a) Basically, copy the following list of narrative structure, codes and conventions.

• Conventional chronological narrative structure (beginning>middle>end).

• Todorov theory of equilibrium>disruption>resolution>return to equilibrium (but with a sense of change for the hero)

• Story arcs: across all the seasons from pilot episode>Season One>subsequent seasons right up to conclusion of Season Five (The Final Season); there is a story arc over each Season; each individual episode has its own story arc. All these story arcs intertwine/weave in and out of each other. All the story arcs are eventually resolved in the concluding episode “Felina”.

• Propp’s theory of stock narrative characters: hero, hero’s helper, false friend, villain, Princess, Princess’s father, casket can be recognised in this episode.

• Joseph Campbell’s theory of the hero’s journey can be recognised in this text.

(b) This is the fun, challenging bit. You have to link the above features in (a) with at least one other key aspect (bear in mind the at least expression: I would seek to cover as many key aspects as possible because it would make my answer more interesting, and attain more marks).

• Explain why the use of a conventional narrative structure (beginning>middle>end) would appeal to the text’s target audience. Describe the ideal target audience (age, sex, sexuality, race, social class, special interest groups) and then explain why this composition of features in the target audience would make it enjoy the narrative structure. Add in why the Institution internal controls of the production company who funded the making of the text (Sony Pictures Television Inc and Vince Gilligan the writer/producer) and external controls (TV companies who buy it to broadcast or streaming services eg Netflix) would prefer this narrative structure.

• Why would the target audience respond positively to the features of narrative that Todorov outlined in his theory: equilibrium>disruption (what enigmas occur in “Felina” to keep the audience hooked), climaxes, and resolutions. Give some examples through this part of your answer how the narrative works to hook the audience: police car in the pre-credit sequence (enigma: will Walt get caught…), Walt going back to his house which is now abandoned and trashed (enigma: why is he picking up a vial of powder hidden behind a light switch?), Walt’s meeting with Lydia and Todd (enigma: will they help him get more money?), Walt’s meeting with Skyler (enigma: will Walt and Skyler part on good terms; will she report him to the police?). What is going to happen at the Schwarzs: will they agree to Walt plans to provide money for Walt Jr? The climax of the concluding episode has great enigmas and resolutions: what is ion the trunk of Walt’s car? Will he get his car keys back that are on the pool table? Will Uncle Jack kill Walt? Will Jesse get free? Will Jesse kill Walt? The biggest enigma, however, is how is “Breaking Bad” going to finish: what will happen to Walt? How is he going to die? Explain that the enigmas thrown up by the concluding episode “Felina” created considerable audience debate, for example on social network sites like twitter. The threat of spoilers was a big threat to audience enjoyment.

• How does the use of story arcs appeal to the target audience? Explain the kind of commitment needed to get into Breaking Bad and become its audience: the interconnection of Seasons requires audience to watch it all, but the more casual viewer can dip in and out. Again, consider the Institutions of production company who made it/funded it and TV companies who broadcast the text: why would the over-riding story arc across the Seasons be appealing (keep audience hooked; make more profit; more sales…)

• How do the clearly recognisable stock narrative characters appeal to the target audience (for example, how does Walt play the role of hero in interesting challenging ways: he is not the conventional upstanding hero: there are dark sides to him – why would this appeal to target audiences?) Hero’s helper: throughout the text from the pilot episode Jesse Pinkman but in “Felina” his role was confined to a small bit near the end (as he was chained up); however, to audience surprise Skinny Pete and Badger are brought back and act as hero’s helpers; false friend: Lydia and Todd (pretend to help Walt meet Uncle Jack in order to do a business deal but they intend killing him); villain: Uncle Jack (motorcycle gang leader, Nazi enthusiast); Princess: Walt Jr/Flynn (Walt want to provide for him to go to college, etc); Princess’s father: Skyler (Walt seeks her approval: key scene “I did it for me”); casket: free Jesse from imprisonment in Uncle Jack’s compound. Throughout your answer to this bit, consider the Representation used to create these stock characters: stereotypes/non stereotypes, positive/negative; how would this add to the enjoyment (or otherwise) of the target audience?

• Finally, explain how the conclusion in “Felina” concludes Walt’s journey from chemistry teacher>cancer patient>drug producer>criminal genius>losing everything>peace and contentment. How does this development reflect Joseph Campbell’s theory of the hero’s journey? How will the resolution at the end of Walt’s hero’s journey please or displease the text’s audience (i.e. do you think the audience will be satisfied with the ending and what finally happens to Walt?).

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