Propp's Theory

Propp studied various Russian fairytales, and discovered that there are always eight main character types present. These are:

Hero
Traditionally the hero is a male protagonist whose role it is to restore normality or equilibrium. He does this by defeating the villain(s) and winning the love of the heroine.

Villain
The villain is the cause of the disruption and the enemy of the hero. The villain may also be a threat to the safety and well-being of the heroine.

Dispatcher
The dispatcher sends the hero on a journey to restore equilibrium. The dispatcher may also be the father or father figure of the heroine, sending the hero on a quest to see if he is worthy of his daughter.

Donor
The donor gives the hero something to help him along his journey. This gift may be a piece of advice, a skill or an object such as a weapon.

Helper
The helper assists the hero in restoring equilibrium. The helper may be a sidekick, with the hero throughout, or someone he meets along the way.

Heroine
The heroine is usually a passive and vulnerable character, threatened by the villain and needing rescuing by the hero.

False Hero
The false character is a character who initially seems to be on the side of the hero but who turns against him or deceives him.

Barthes: 5 Narrative Codes

Barthes suggested that there will be one or more of the five codes that describe the meaning of a text. The texts may be 'open or 'closed'.

Hermeneutic/Enigma Code

• This code refers to mystery within a text. Clues are dropped, but not many answers are given.
• Enigmas within the narrative make the audience want to know more.
• Unanswered enigmas tend to frustrate the audience.

Proairetic/Action Code

• This code contains sequential elements of action in the text.
• Proairetic elements add suspense to the text.

Semantic Code

• This code refers to parts within the text that suggests or refers to additional meanings.
• Elements of the semantic code are called semes.
• The seme has a connotative function in the text. It has an extra layer of meaning in addition to its literal meaning.

Symbolic Code

• This code is about symbolism within a text.
• It creates opposites to show contrast and create greater meaning, creating tension, drama and character development.

Referential Code

• This code refers to anything in the text which refers to an external body of knowledge such as scientific, historical or cultural knowledge.

AS Film Reviews: Elegy For April

BARTHES: Enigma code helps set up the basic plot of how the audience are unaware of exactly what is happening which makes them become more interested in continuing to watch. Cultural references to the place giving audience background information to the setting.

TODOROV: As it is only the beginning of a film we only see the beginning of this story and therefore only one side of the story told and the audience have much to learn still about each character.

LEVI-STRAUSS: Doesn't seem to be conflict between the two. They both seem to be on the same side. Feminine Vs. Masculine.

PROPP: Types of characters are unusual. Not clear if they are villains or heroes. It is only an opening scene so there is no punishment for wrongdoings yet. Both characters are constructed. Unclear what initial lack is.

AS Film Reviews: An Fiach Raicleach

BARTHES: Cultural references so audience get a lot of background to 1700s Ireland. Enigma code helps set up the basic plot of how the audience are unaware of exactly what is happening which makes them become more interested in continuing to watch.

TODOROV: As it is only the beginning of a film we only really see the beginning of this story and therefore only one side of the story is fully told however the audience can recognise an enemy in the antagonist.

PROPP: Typical characters. Hero Vs. Villain is effective. Initial lack is her tragedy. She seeks help. Punishment of the villain does not occur as it is only an opening scene. Both characters are constructed.

LEVI-STRAUSS: Binary oppositions. Very obvious conflict between the protagonist and antagonist She is in danger. Feminine Vs. Masculine. Pagan Vs. Christian. Weak Vs. Strong.

Shot Type Plans

These are the ideas that myself and the other cinematographer that is working with me have come up with for shot types before the title appears onscreen:

long shot of her falling

mid shot or close up of her screaming

shot reverse shot for dialogue

close up on hand as Steve hands over purse

long shot of her running away

mid shot then long shot of him leaving, shaking his head

Cinematography Advice

I improved my cinematography knowledge by watching a number of videos that were very informative. They explained all aspects of cinematography and made it easier for me to plan each shot that was going to be in the film.

This is a video of cinematographer Richard Michalak speaking about cinematography. I found this video the most useful as there was a lot of information on it and it was clear to see that he knew exactly what he was talking about.

Different Roles Within The Group

cin·e·ma·tog·ra·pher

  (sĭn′ə-mə-tŏg′rə-fər)

n.

A movie photographer, especially one who is in charge of the camera and lighting crews on aproduction.

The Cinematographer

I was the cinematographer for Zombiequality. Another name for the cinematographer is the Director of Photography. They are responsible for all of the visual elements of the film. They are in charge of making every creative choice related to composite, lighting and camera motion. They decide everything that the audience can see in each shot. They determine everything from colour to depth-of-field, from zoom to the positioning of people and objects within any given frame.

They must realise what the director is thinking and find a way to make the director's vision a reality. This creates a consistent look for the film and images that are created will help to tell the story. It is getting images that will push the story along that increases the audience's interest and makes them want to watch.
I had to learn to understand the director's ideas and make her imagination come to life in the shots. This required meeting with her and talking about how the film was going to look and any different shots

It was important that our director had a good grasp for film and an artistic vision that she was prepared to execute. It was brought to her that we could enter for the cinematic hallowee'en rising star award which was great as it gave her strict criteria to work with deadlines. She started working on the treatment package with our production crew, this insured we had a basic plot, a bottom line and a storyboard. From there, she started working with the screen writer on drafting the script and we came up with the title "Zombiequality". Before the shoot, we were fine lining details and planning what each individual specialism  will do. The director went through the script with each individual unit (e.g. sound, cinematography) and annotating it with ideas, references e.t.c.