According to the theory of literary narratology or semiotics, this paper studies the theory of film performance elements and structure. Narrative movies follow the traditional novel narratology, mainly studying the plot arrangement, action motivation, character and aesthetic characteristics of the story, and paying attention to the skill level of the movie script. In the 1970s, narrative films based on structuralism and semiotics broke through the boundaries of traditional film narrative research, trying to abstract the quantitative system model of film narrative from the general technical elements of films, which laid the foundation for text analysis. Narrative films have obtained general concepts and methods from literary narratology, which has promoted the research and development of narrative films. The theoretical models of narrative films include: 365,438+0 functions and seven story characters summarized by propp from Russian folk fairy tales; Levi-Strauss's "myth element" and the logical structure of binary opposition: roland barthes's narrative works have three levels (function level, action level and narrative level); Gerald Genette's five narrative concepts (1 "sequence" of narrative time; 2. Omitted or continuous "time continuation"; 3 repetitive or single "frequency"; 4. Narrative "style", including the selected "perspective" or "viewpoint"; (5) the classification of "sound" and "focus" (omniscient zero focus, internal focus seen by the narrator, and external focus that the narrator can only observe the external appearance of the characters but cannot sneak into the consciousness of the characters); Grimas' narrative mode; G. Metz's eight combination festivals; The viewpoint theory of American film theorist Ai Britney; Fran? ois yost's "visualization" system (internal visualization related to human eyes and zero visualization unrelated to human eyes) and so on.