1. The Three Act Structure, Vladimir Propp, Genre

The Three Act Structure

"The 3-act structure is an old principle widely adhered to in storytelling today. It can be found in plays, poetry, novels, comic books, short stories, video games, and the movies. It was present in the novels of Conan Doyle, the plays of Shakespeare, the fables of Aesop, the poetry of Aristotle, and the films of Hitchcock. "

Act I

Act II: Confrontation

Act III: Resolution

or

Beginning

Middle

End

The Setup

The setup is where the characters, the setting is introduced and the conflict that moves the plot along. as well as this there is also usually an exciting scene that grabs the viewers attention earlier on.

Confrontation  

this is the longest part of the film and can be the hardest to keep the interest of the audience. To solve this problem directors use subplots." It often adds a three-dimensionality aspect to the characters by allowing them to engage in a behaviour that is not necessarily connected to the main plot, but still relevant in the overall narrative and often linked to a central theme."

Resolution

this is where there is a second turning point to the script leading to the denouement. As well as this there is also a tie of all the lose end, of the subplots or any other in-answered questions.

Vladimir Propp

Vladimir Propp created the idea that folktales have a similar frame work throughout, and broke down them into the smallest possible units called narratemes or narrative functions, each narrative function drives the plot forward or changed it.  

Propps narrative function:

1. A member of a family leaves home (the hero is introduced as a unique person within the tribe, whose needs may not be met by remaining)
2. An interdiction (a command NOT to do something e.g.'don't go there', 'go to this place'), is addressed to the hero;
3. The hero ignores the interdiction
4. The villain appears and (either villain tries to find the children/jewels etc; or intended victim encounters the villain);
5. The villain gains information about the victim;
6. 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);
7. The victim is fooled by the villain, unwittingly helps the enemy;
8. Villain causes harm/injury to family/tribe 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, commits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc);
9. Misfortune or lack is made known, (hero is dispatched, hears call for help etc/ alternative is that victimised hero is sent away, freed from imprisonment);
10. Seeker agrees to, or decides upon counter-action;
11. Hero leaves home;
12. Hero is tested, interrogated, attacked etc, preparing the way for his/her receiving magical agent or helper (donor);
13. Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against them);
14. Hero acquires use of a magical agent (it's directly transferred, located, purchased, prepared, spontaneously appears, is eaten/drunk, or offered by other characters);
15. Hero is transferred, delivered or led to whereabouts of an object of the search;
16. Hero and villain join in direct combat;
17. Hero is branded (wounded/marked, receives ring or scarf);
18. Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
19. Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revived, captive freed);
20. Hero returns;
21. Hero is pursued (pursuer tries to kill, eat, undermine the hero);
22. 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. Hero unrecognised, arrives home or in another country;
24. False hero presents unfounded claims;
25. Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
26. Task is resolved;
27. Hero is recognised (by mark, brand, or thing given to him/her);
28. False hero or villain is exposed;
29. Hero is given a new appearance (is made whole, handsome, new garments etc);
30. Villain is punished;
31. Hero marries and ascends the throne (is rewarded/promoted).

these narrative functions are spread between the characters

the villain, who struggles with the hero (formally known as the antagonist)

the donor,

the helper,

the Princess, a sought-for person (and/or her father), who exists as a goal and often recognizes and marries hero and/or punishes villain

the dispatcher,

the hero, who departs on a search (seeker-hero), reacts to the donor and weds

the false hero (or antihero or usurper), who claims to be the hero, often seeking and reacting like a real hero (ie by trying to marry the princess)

Genre Theory

genre theory is categories created in order to group films, the most basic genre fiction or non fictions. from these there are sub genres such as legal dramas.


Film Genres Action
Adventure
Comedy
Crime
Gangster
Drama
Historical
Horror
Musical
Science Fiction
War
Western
BioPic
Romantic Comedy
Mystery
Fantasy
Film Noir
Romance
Sports
Thriller
Animated
Family
Classic
Cult
Documentary
Silent