How is narrative structured in media products, and what do Todorov, Propp and Levi-Strauss each tell us about how stories make meaning?
Media language: narrative. Todorov's equilibrium, disruption and new equilibrium; Propp's character functions; and Levi-Strauss's binary oppositions as the structural carriers of meaning and ideology.
An OCR A-Level Media Studies guide to narrative theory. Covers Todorov's equilibrium, disruption and new equilibrium, Propp's character functions, and Levi-Strauss's binary oppositions, plus how narrative structure carries ideology, with the application skills the media language questions reward.
Reviewed by: AI editorial process; not yet individually human-reviewed
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What this dot point is asking
Within media language, OCR names three narrative theorists: Todorov, Propp and Levi-Strauss. You need to know each model, choose the one that fits a product, and show how narrative structure does more than tell a story: it shapes the audience's understanding and can carry ideology.
The answer
Todorov: equilibrium and disruption
The pleasure and engagement come from the disruption: audiences are pulled forward to see how the problem is resolved. The new equilibrium is rarely identical to the first, so the narrative implies change or learning.
Propp: character functions
Propp argues that across many stories the same character functions recur, roles defined not by personality but by what they do for the plot:
- Hero: seeks something or restores order.
- Villain: creates the disruption and opposes the hero.
- Donor: provides the hero with something needed (an object, knowledge, power).
- Helper: aids the hero.
- Princess (and her father): the reward or goal, often a person to be won or saved.
Spotting these functions reveals the underlying machinery of a narrative and how characters are positioned for the audience.
Levi-Strauss: binary oppositions
Levi-Strauss argues that meaning is generated through binary oppositions: conflicting pairs that structure the narrative, such as good versus evil, civilisation versus savagery, us versus them or order versus chaos. Crucially, the oppositions are rarely balanced: one side is usually privileged and the other devalued. This is how narrative carries ideology, by making certain values appear right or natural and others wrong or threatening.
Examples in context
A strong narrative answer selects the theory that suits the product, applies it to named moments, and shows how the structure positions the audience and embeds values, rather than reciting all three theories in turn.
Try this
Q1. Explain Todorov's theory of narrative equilibrium. [5 marks]
- What the marker wants. The three stages (equilibrium, disruption, new equilibrium) and the idea that the new equilibrium differs from the first (AO1), ideally with a brief media example.
Q2. Analyse how binary oppositions create meaning in one set product you have studied. [10 marks]
- Cue. Name the oppositions (Levi-Strauss), say which side is privileged, and explain the value or ideology this encodes for the audience (AO2).
Exam-style practice questions
Practice questions written in the style of OCR exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
OCR H409/01 202210 marksExplain how narrative is used to create meaning in one set product you have studied. [10]Show worked answer →
An Explain question (AO1 and AO2). The marker rewards naming a narrative theory and applying it to the set product.
Method. Choose the theory that fits. For a story with a clear arc, use Todorov (equilibrium, disruption, new equilibrium). For recurring roles, use Propp's character functions (hero, villain, donor). For underlying meaning, use Levi-Strauss's binary oppositions.
Develop. Apply the chosen theory to specific moments in the product. The top band shows how the structure shapes the audience's understanding and may carry a value or ideology, with named examples.
OCR H409/01 202320 marksDiscuss the extent to which narrative theories help us understand how media products create meaning. Refer to set products you have studied. [20]Show worked answer →
An extended essay (AO1 and AO2), shown at the 20-mark cap, marked by levels of response.
For. Todorov explains how disruption and restoration drive engagement; Propp shows recurring character functions; Levi-Strauss shows that binary oppositions carry ideology (which side is privileged). Apply each to named set products.
Against. Not all products are narrative (some adverts and games are non-linear or open), digital and participatory media let audiences reorder or co-create narrative, and the theories can be applied too mechanically.
Judgement. Narrative theories are strong tools for analysing structure and embedded values, but they work best chosen to fit the product rather than applied wholesale. A judgement grounded in set products reaches the top band.
Related dot points
- Media language: semiotics (Roland Barthes). Denotation and connotation, signs and signifiers, codes (the symbolic, technical and written codes) and the way repeated connotations harden into myth and ideology.
An OCR A-Level Media Studies guide to semiotics and Roland Barthes. Covers signs, signifiers and the signified, denotation and connotation, symbolic, technical and written codes, anchorage, and how repeated connotations become myth and ideology, with the analysis skills the media language questions reward.
- Media language: genre theory (Steve Neale). Genre as a repertoire of elements, repetition and difference, the role of audience expectation and economic risk, hybridity and the way genres change over time.
An OCR A-Level Media Studies guide to genre theory and Steve Neale. Covers genre as a repertoire of elements, repetition and difference, audience expectation, economic risk for the industry, hybridity and how genres evolve, with the application skills the media language essays reward.
- Media language: the codes and conventions of analysis. Camera, mise-en-scene, editing and sound; layout and typography in print; conventions of each form; intertextuality; and how to build a close analysis.
An OCR A-Level Media Studies guide to the codes and conventions of analysis. Covers camera, mise-en-scene, editing and sound, print layout and typography, the conventions of each media form, intertextuality, and how to build a close media language analysis that scores in the top band.
- Representation: Stuart Hall's representation theory. Representation as construction not reflection, selection and mediation, stereotyping and the exercise of power, and the reinforcing or challenging of dominant ideologies.
An OCR A-Level Media Studies guide to representation and Stuart Hall. Covers representation as construction not reflection, selection and mediation, stereotyping as the exercise of power, and how media reinforce or challenge dominant ideologies, with the analysis skills the representation questions reward.
- Theoretical perspectives: applying the media language theories. Choosing and applying Barthes, Todorov, Levi-Strauss and Neale to set and unseen products, the named-theory question, and the levels-of-response marking of the extended essay.
An OCR A-Level Media Studies guide to applying the media language theories. Covers choosing and applying Barthes, Todorov, Levi-Strauss and Neale to set and unseen products, the named-theory question, and the levels-of-response marking of the extended essay, with the exam skills the higher-tariff questions reward.
Sources & how we know this
- OCR A Level Media Studies (H409) specification — OCR (2023)
- The Poetics of Prose (narrative equilibrium) — Tzvetan Todorov (1971)