Vladimir Propp...
Vladimir Propp was born on April 17, he was a Russian formalist scholar who focused on examining components of Russian folk tales to identify their simplest narrative elements.
His morphology of the folk tale consists of 8 typical characters involved within a film, and 31 functions. Both of these are used in media education and can be applied to almost any story, whether it is literature, theatre, film or simply a television programme. The folks tale was first published in Russia in 1895.
Some have criticised Propps approach, expressing that he has removed all verbal considerations from the analysis, although the folks tale form is almost always oral, and involves consideration of tone, mood, character and anything else that defines one fairytale from another.
However, defenders of Propps theory suggest that his approach was not intended to unearth meaning in those particular fairy tales, but in fact to unearth the elemental building blocks which formed the basis of the narrative structure.
CharactersPropp's theory is a form of structuralism, which i a view that all media is inevitably in the form of a certain fixed view; the structures however are usually cultural. Propp concluded that every type of character could be resolved within only 8 character types, this present in over 100 films in which he has analysed.
Here are the 8 character types Propp created, below...
The villain — struggles against the hero.
The donor — prepares the hero or gives the hero some magical object.
The (magical) helper — helps the hero in the quest.
The princess and her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished.
The dispatcher — character who makes the lack known and sends the hero off.
The hero or victim/seeker hero — reacts to the donor, weds the princess.
[False hero] — takes credit for the hero’s actions or tries to marry the princess.
Peter Pan...
I have decided to focus on the popular Disney Film, 'Peter Pan' and analyse the film in the influence that Vladimir Propp did, i chose this particular film as it is extremely popular within a wide target audeince, not only children. The film has been updated and used further, becoming a theatre show held in the West End and also has been modernised into a film acting as the sequel, named 'Hook', this time involving actors, it is not cartoon based.
The villain — Captain Hook
The donor — Tinkerbell
The (magical) helper — Tinkerbell
The princess and her father — Wendy Darling is -Princess, Mr.Darling- Her Father.
The dispatcher — Peter Pan
The hero or victim/seeker hero — Peter Pan.
[False hero] — Smee.Above are the 7 typical character types included in 'Peter Pan', thought examining the film i have found that each of these live up to the character types Propp has provided, and represent a typical fairytale storyline.
Propp also hase 31 functions he believes in, these are listed below and are events which occur in a sequence...
1.ABSENTATION: A member of a family leaves the security of the home environment for some reason. This may be the hero or perhaps it’s some other member of the family that the hero will later need to rescue. This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person. This allows the reader of the story to associate with the hero as being 'like me'.
2.INTERDICTION: An interdiction is addressed to the hero ('don't go there', 'don't do this')The hero is warned against some action (given an 'interdiction'). A warning to the hero is also a warning to the reader about the dangers of life. Will the hero heed the warning? Would the reader? Perhaps the reader hopes the hero will ignore the warning, giving a vicarious adventure without the danger.
3.VIOLATION of INTERDICTION. The interdiction is violated (villain enters the tale). The hero ignores the interdiction (warning not to do something) and goes ahead. This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away. This acts to further increase tension. We may want to shout at the hero 'don't do it!' But the hero cannot hear us and does it anyway.
4.RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc; or intended victim questions the villain). The villain (often in disguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way. The introduction of the villain adds early tension to the story, particularly when they are found close to the previously-supposedly safe family or community environment. The eloquence or power of the villain may also add tension and we may want to shout at their targets to take care.
5.DELIVERY: The villain gains information about the victim. The villain's seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location or the intent of the 'good guys'. This is a down point in the story as the pendulum of luck swings towards the villain, creating fear and anticipation that the villain will overcome the hero and the story will end in tragedy.
6.TRICKERY: The villain attempts to deceive the victim to take possession of victim or victim's belongings (trickery; villain disguised, tries to win confidence of victim). The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend and thereby gaining collaboration. Deception and the betrayal of trust is one of the worst social crimes, short of physical abuse. This action cements the position of the villain as clearly bad. It also raises the tension further as we fear for the hero or victim who is being deceived.
7.COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain in some way. This may range from providing the villain with something (perhaps a map or magical weapon) to actively working against good people (perhaps the villain has persuaded the hero that these other people are actually bad). We now despair as the hero or victim acts in a way that may be seen as villainous. Perhaps we worry that the hero will fall permanently into the thrall of the villain. Perhaps they will become corrupted and evil also. We also fear for the reputation of the hero who may be perceived as evil and thus never find the true treasure or win the hand of the princess.
8.VILLAINY and LACK: Villain causes harm/injury to family member (by abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, expels someone, casts spell on someone, substitutes child etc, comits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc). There are two parts to this stage, either or both of which may appear in the story. In the first stage, the villain causes some kind of harm, for example carrying away a victim or the desired magical object (which must be then be retrieved). In the second stage, a sense of lack is identified, for example in the hero's family or within a community, whereby something is identified as lost or something becomes desirable for some reason, for example a magical object that will save people in some way. 'Lack' is a deep psychoanalytic principle which we first experience when we realize our individual separation from the world. Lack leads to desire and deep longing and we look to heroes to satisfy this aching emptiness.
9.MEDIATION: Misfortune or lack is made known, (hero is dispatched, hears call for help etc/ alternative is that victimized hero is sent away, freed from imprisonment). The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish and woe. This creates a defining moment in the story as we wonder what will happen now. Perhaps we do not realize that the hero is the hero, as they may not yet have demonstrated heroic qualities. We feel the lack in sympathy for the act of villainy, but the hero may just have arrived on the scene or may be undistinguished from other grieving family members.
10.BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the lack, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of future actions and by which a previously ordinary person takes on the mantle of heroism. Having made this decision, acting with integrity means that there is no turning back, for to do so would be to remove the mantle of heroism and be left only with shame.
11.DEPARTURE: Hero leaves home;
12.FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc, preparing the way for his/her receiving magical agent or helper (donor);
13.HERO'S REACTION: Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against him);
14.RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent (directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters);
15.GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
16.STRUGGLE: Hero and villain join in direct combat;
17.BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
18.VICTORY: Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
19.LIQUIDATION: Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revivied, captive freed);
20.RETURN: Hero returns;
21.PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
22.RESCUE: Hero is rescued from pursuit (obstacles delay pursuer, hero hides or is hidden, hero transforms unrecognisably, hero saved from attempt on his/her life);
23.UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
24.UNFOUNDED CLAIMS: False hero presents unfounded claims;
25.DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
26.SOLUTION: Task is resolved;
27.RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
28.EXPOSURE: False hero or villain is exposed;
29.TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc);
30.PUNISHMENT: Villain is punished;
31.WEDDING: Hero marries and ascends the throne (is rewarded/promoted).
Along with Propp's characters, these 31 functions are found present in most fairytale stories, acting as a sequel throughout the film. More often, a function is negated twice, so that it must be repeated three times.
Vladimir Propp i believe has made a great achievement when stepping out and approaching his ideas and theories, they are very popular and i believe are a very helpful way of directing and creating a film or any kind of television series.