ML: Structuralism - Levis Strauss Flashcards
Kinds of oppositions
- Character oppositions
- Narrative oppositions
- Stylistic oppositions
- Genre drivers binary oppositions (+ Neal Genre theory)
The functions of oppositions in media products
- To clearly explain ideas
- To create compelling narratives
- To create identifiable character types
- To create audience identification
Binary oppositions
The use of paired elements within narratives that provide contrast
Character oppositions
The constructions of characters that are juxstaposed - oppositions might be based on age, ability, moral outlook or social position
Genre based opposition
Paired elements that are commonly found in specific genres - these might be character, narrative or theme based oppositions
Opposition resolution
Refers to the way that binary opposites resolve within a narrative - the dominant partner in an oppositional arrangement will often dictate the ideological position of a media product
Structuralism
An analytical model that suggests that human behaviour is directed by a universally applicable set of rules. Levi - Strauss’s suggestion that humans naturally explain the world in terms of oppositions is a structuralist argument
Stylistic oppositions
The use of contrasting design elements. Stylistic oppositions often reinforce the narrative themes of a text or help encode character oppositions
Binary opposition
Strength & weaknesses
S: Universal framework that makes texts easier to deconstruct in terms of the ideologies encoded within them.
W: Assumes all conflicting elements fit neatly into oppositions. Some texts may blur oppositions to create ambiguity or as a statement.
Character oppostions
Strengths and weaknesses
S: Allows to clearly understand each characters archetype and their function within the narrative. (Links to Propps character types)
W: David Gauntlett’s ‘Identity theory’. As we now live in a ‘late modernity’ era our identities are not as fixed. Media texts today tend to avoid representing too fixed of an identity, rather presenting a layering of indentities and motivations within a singular character. Thus the oppositions are less rigid.
E.g. The rise of the ‘Anti-hero’ archetype featuring in mainstream media.
Genre-based oppositions
Strengths & Weaknesses
S: It sustains audience expectations.
E.g. Kiss of the vampire relies on Gothic oppositions like life vs death and masculinity vs femininity, informing the audience of its genre.
W: In hybrid genres (Neales Genre theory) such as Black Mirror ‘San Junipero’ elements of various genres are hybridised into a singular product - creating a fluidity which challenges Levi- Strauss’s rigidity.
Opposition resolution
Strengths and Weaknesses
S: Leaves audiences with a satisfying resolution and a conclusive ideology - seen in advertisements and many other forms of mainstream media, it is digestible and relevant.
W: Many contemporary narratives, leave oppositions unresolved or ambiguous; reflecting complex social realities/
E.g. I, Daniel Blake where the protagonist dies and does not triumph over the injustices of the welfare system
