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The majority of mainstream films have a similar narrative structure and the works of Todorov and Propp are evidently clear within these narratives. Vladimir Propp, a Russian critic and folklorist analysed many folk tales to see if they shared any common attributes and structures. He concluded that there are eight main characters such as ‘the dispatcher’ or ‘the donor’ and that there are 31 narrative functions such as ‘villain is punished’ or ‘the hero is pursued.’ His analysis also mentioned that not all these are evident in all narratives.

Todorov and Propps theories have been influential in modern narratives and work fluently with my chosen case studies and I will apply their theories in more detail later.

One last person worth mentioning is Christopher Booker, an English journalist who published the book, ‘The Seven Basic Plots.’ This book outlines that all narratives fall into one of the seven various forms of storytelling. These plots are overcoming the monster, rags to riches, the quest, voyage and return, comedy, tragedy and rebirth. These plots all had alternative darker versions, except for tragedy which already is the dark version. Furthermore two new plots were added outside this list, rebellion against the one and mystery. Both my case studies fall under the plot, overcoming the monster which I will briefly look at later when analysing my case studies.

“The pleasure of looking – scopophilia has been central to cinema since the beginning” Film is a visual storytelling medium. More people are keen on using their eyes to visualise the story as the audience willingly lose suspension of disbelief, sitting in a film theatre staring at a flat wall for two hours as the story unfolds before their eyes. Before I discuss some of the contemporary film techniques of storytelling I will briefly focus on the ‘cinema of attractions’ an expression used to describe the early cinema by film historian Tom Gunning.

As technology began to evolve over the 20th century, the moving image was born. People were overwhelmed by this form of medium and what technology could do thereafter. It was all about the ‘wow’ factor, the look of the film. Since most films during this time were unedited sequences of footage, the narrative was not an important issue. Film makers were more fascinated with the possibilities of this particular medium and capturing the ‘real’ and what they could do with it.

There were people like the Lumiere Brothers (Auguste Marie (1862-1954) and Louis Jean (1864-1948)) who successfully captured the ‘real-life’ imitation of film. One famous example is the short film called L'Arrivée d'un train en gare de la Ciotat (1895). When this film was shown people were so shocked and in fear that the train was going to run them down they fled the theatre. This was a turning point in film history as the Lumiere Brothers inspired so many other film makers. One particular other magician turned film maker was Geor本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。