Evaluation

In evaluation of my coursework I will be looking at key concepts from my textual analysis such as what narrative conventions are most prominent in neo-noir films. I have looked at how character theory creates these conventions. The two theorists I have referred to are: Propp and his theory of character types and Goffman and his theory of characters. Through this I have come to a conclusion of which one is more applicable based on whether the films I have researched have been influenced by prior fictional pieces.

While analysing Propp's character types in its relation to neo-noir films the conclusion found in my research suggested that since Propp's work was formed from fantasy stories and myths. It occurred to me that some of my texts e.g. The Dark Knight, Sin City, Fight Club are film adaptations from novels or comic books involving exaggerated characters with seemingly superhuman abilities that are all based off of fiction, which may of been why these films were more applicable to Propp's research on fictional stories. In relation to my key frames, my frames have adapted the style of Sin City and my narrative has been influenced by one of its stories, The Yellow Bastard. As shown in Key Frame(s) 1-6 we are introduced to our hero, this is shown through the cinematography following his perspective. Throughout the key frames he makes a transformation from the false hero, aiding the villain in Key Frame 11, and defeating and aiding the helper in frames 12- 20. In Frames 9-10 we are introduced to the villain and we actually see his face in Frame 11. He is also punished in the end by the narrative for being the villain in Frame 19. In Frame 12 we are introduced to the helper and the heroes final transformation is complete in Frame 20 when he puts someone else's life ahead of his own. Our helper may also be considered the princess as it seems the hero is saving her in Frame 20 as well as the donor and dispatcher as she sets the hero on a path for redemption in Frame 13. Also, in terms of mise-en-scene I have adapted the style of costume from Se7en and editing from Sin City. I have used the black and white tones to set up the idea that it is a neo-noir film. I have also highlighted certain colours in order to create meaning. For example, the blue colours that the hero wears from Frames 16-20 represents his transformation from a broody, dangerous individual with the dark and red colours in frames 1-15 to a trustworthy hero. I have also attempted to create a similar costume to what Mills from Se7en wears as he had a similar transformation to what my hero goes through. From this it may suggest I have been effective in reflecting Propp's character types within my creative artefact since I have far reaching evidence, closely defining these characters in to their character archetypes. However, with a couple of them fitting in to multiple character types this reinforces my ideas in my textual analysis that even though my creative artefacts narrative and style has been influenced by a neo-noir film that has been adapted by a comic book. Because it is a neo-noir film, the characters may be considered too complex to fit in to just one character type.

While analysing Goffman's character theory in its relation to neo-noir films the conclusion found in my research suggested that since Goffman's theory was formed mostly from research on media texts it may be easier to apply to neo-noir films such as Se7en. Se7en is a neo-noir film which involves aspects of thriller's as the characters are too complex and realistic to be simplified down in to character types like Propp's character types. In relation to my key frames the cinematography follows what could be considered as my protagonist throughout as the narrative is told from his perspective, and as the audience we understand parts of the characters motivations that the other characters are unaware of for example, Frames 2 and 8. However, since it is a neo-noir film, most of it is still left to us a mystery in the narrative to reinforce this. Because of this, the protagonist may also be viewed as the bit player as we have little to no context of his back-story, shown in Frames 1-10. We have no knowledge of what his relationship with the character Sam, or what happened to his wife, or why he left his job. The characters Sam and Sarah may be seen as the deuteragonists as they are both secondary characters to John, the protagonist, they are seen to help John move the narrative forward, but it is not told from their perspective, we do not know their motivations and we do not know their back-stories, shown in Frames 9-12 for Sam and Frames 13-15 for Sarah. The fact that we also do not know their back-stories may also make them bit players, reinforcing a neo-noir convention of mystery in neo-noir films such as Se7en and Sin City. Sarah may also be considered the fool shown in Frames 13-15 through the dialogue as she has flirtatious banter with the protagonist, but at the same time through this banter she makes him question his allegiance to Sam. Also, both Sam and Sarah are introduced in to the narrative as fully developed characters just like characters such as Miho in Sin City and Detective Somerset in Se7en reinforcing another neo-noir convention. From this is may suggest I have applied Goffman's character types effectively by creating complicated characters who can fit in to multiple character types like Se7en, this has been reinforced through the use of narrative, following one characters story, the cinematography focusing around the protagonists perspective and the dialogue, reinforcing what kind of character they are, presenting their attitudes to the world.

In conclusion, I believe I have managed to apply both theories effectively to my creative artefact. To closely define my characters in to Propp's character types, I have used the cinematography to follow the perspective of the hero, mise-en-scene, specifically costume to make Sam look villainous, to make Sarah sexualised, like most femme fetales and to make her appear to be like the princess from Propp's character types. Also, I have used the narrative to follow the hero's journey and transformation from a false hero to a hero. Finally, I have used editing to reinforce the style of neo-noir films and I have used specific colours to reinforce the archetype each character fits in to. In order for my characters to be applicable to Goffman's character theory, I have used cinematography to follow the protagonists perspective and to reinforce who the deuteragonists are, I have used dialogue to present Sarah as the fool and I have used the narrative to reinforce that all three of my characters could be considered bit players as their back-stories and most motivations are kept a mystery from the audience to reinforce the convention of mystery in neo-noir films like Se7en.

20 Key Frames

Key Frame 1:

The first frame features John in his car, the camera has a focus on the foreground and the background is blurred. The positioning of John through the use of cinematography represents his importance, aligning the audience with him as they know the film will be focused around his perspective. This is similar to shots of Marv from Sin City where the background blurs, focusing on his character. The use of visual style reinforces conventions of neo-noir films with an interplay between darkness and light with editing making parts of the film black and white with colours shown that are predominately dark to introduce the sombre tone of a neo-noir film.

Key Frame 2:

The next frame shows more of the interior of the car and introduces the audience one of the films plot devices, the 'Letter of Resignation' tells the audience that John is unemployed and that this will be important later in the film due to the cinematography focusing on the prop. Again, the sombre tones are represented through the pale, dark colours as well as the black and white editing to represent the unsettling situation.


Key Frame 3:

This Frame presents, like most neo-noir films, a theme of addiction, as John lights a cigarette, The focus in the foreground is John, John's red tie and jacket. In the background the car's colours are focused on, representing John's emotions of anger from the loss of his job. This is a common technique used within to present a character in a certain way. Since it is in John's car, it suggests he has been driving in a vessel of his own anger whilst dealing with the loss of his job since the colour red is meant to represent this. This is also shown with his tie. The pale green jacket presents the idea that he is green with envy and jealousy at anyone not struggling in the corrupt society he lives in. Again, the themes of corrupt societies is a common theme in neo-noir films.


Key Frame 4:

This frame shows a continuation of the theme of addiction to represent John's current mental unease and instability again as explained before the use of colour is used to represent John's current emotions.

Key Frame 5:

This frame presents John's frustration with his current situation. The use of colour and black and white editing are consistently used to reinforce neo-noir film conventions. The medium close up shows that the focus of this frame is on John but, at the same time creates a dark, neo-noir atmosphere, emulating the style of neo-noir.

Key Frame 6:

The close up in this shot, emphasises John's irrational anger to burn his resignation form as a way of coping with his situation. The only bright part of the shot is the flame which may represent the idea that the only possible extreme form of emotion in neo-noir films is angst or anger.

Key Frame 7:

The opening of this frame uses a medium wide shot, only focusing on certain colours to represent emotion as explained earlier, the outside of the house is dark, presenting the theme of gloom and darkness as used in neo-noir films such as The Dark Knight. The use of the beer prop again presents the idea of John's addictions.

Key Frame 8:

This over the shoulder shot puts the spectator in John's perspective, aiming to sympathise the audience with the protagonists character, the single use of colour of the photo shows his lover who was the only light in his life that he now desperately clings on to after she was tragically lost conforming to the convention of romantic tragedy is neo-noir film.

Key Frame 9:

The second over the shoulder shot from an unknown number presents mystery, another convention and trait of neo-noir films. the use of colour represents the idea of a possible new opportunity arriving for John
Key Frame 10:

This medium shot of John looking out of the window at the night whilst on the phone to Sam presents an idea of mystery that even John does not know what now lies in store with him as he heads down this new, possibly morally questionable route for money. This presents the theme of greed and corruption, another characteristic of neo-noir films.

Key Frame 11:

The lack of colour in this shot reinforces the dark mood/atmosphere that neo-noir films present and represents the dark path that John is letting himself go down. The flicker of yellow in this shot represents the cowardice, hazard and anxiety surrounding John as he completes these 'jobs' for Sam. This is similar to the colours used in the scene with Jackie Boy in Sin City while he's in his car. The red in this shot could also be used as a subliminal warning to John that the path he heads down is a dangerous one, leading to a path of which a false hero would take.

Key Frame 12:

The lack of colour in this shot is again used to consistently represent a neo-noir film by adopting Sin Cities style. The flicker of blue on John and the photo's of the table in this observing shot of both Sam and John shows the depression and guilt he feels doing these 'jobs' as he does not fully trust Sam.

Key Frame 13:

In this shot we are introduced to Sarah, in terms of Goffman's she would be considered as a bit player as she is this films 'femme fetale.' her black dress presents a sense of glamour and sophistication about her and her red lips and blue eyes represent the idea that she is both an intelligent and passionate person. This is where John and Sarah's relationship begins during their first conversation.

Key Frame 14:

This shot features features a medium observation shot, Sarah's blue eyes represent her trustworthiness, In reference to Propp's character types she would be considered the princess and John at the moment being the false hero must journey to be redeemed as a hero in her eyes. The lack of character development presented to us when introduced to Sarah is a convention of neo-noir films by already having a fully developed, strong female character.

Key Frame 15:

This shot features a close up observerving shot of John and Sarah, presenting their relationship as perhaps becoming intimate as Sarah convinces John without knowing him very well to help her expose Sam for his crimes. This links to Hartigan and Nancy's relationship in Sin City during the episode 'The Yellow Bastard'.

Key Frame 16:

This next shot features an over the shoulder shot of John and Sarah, again the colours used in the predominately black and white shot are there to reflect the style of one of my chosen texts Sin City to reveal what the characters feel or how their attitudes and values have changed throughout the film. The blue represents John's personality change, making him more 'heroic' in terms of Propps character types, linking to Mills' character from Se7en with his transition from being a hero to a false hero, reinforced by the use of mis-en-scene. No matter what in terms of Goffman's character theory John is still the protagonist no matter how he would have acted, linking to Sin Cities characters like Marv more due to them both having questionable morals.

Key Frame 17:

This frame features the final confrontation scene between John, Sarah and Sam, the cinematography in this frame is to disalign the audience from Sam as we do not see his face, focusing it on both Sarah and John, aligning the spectator with both of them. In terms of allegiance the spectator would align with both John and Sarah based on their political viewpoint whether they are left or right wing. Again, the style of neo-noir is reinforced with it's dark colour palette. However it reflects both Se7en, Sin City and the Dark Knight's style with the use dark lightning, editing and mis-en-scene, specifically costume.

Key Frame 18:

Again, this frame fails to show the majority of Sam, in an attempt to disalign the audience from him. This frame is used to present the danger of death within this scene. Presenting a common theme in neo-noir films, the theme of death. Sarah here in terms of Propps character types would be considered the princess as she seems like a 'damsel in distress'. In terms of Goffman's theory, both Sam and Sarah would both be considered deuteragonists.

Key Frame 19:

This shot focuses on Sarah, presenting her as a 'femme fetale' as she shoots Sam in the neck, not requiring a man to save her, being a strong independant woman, not needing John to save her, rejecting Propps character archetypes. and fitting in more with Goffman's character theory.

Key Frame 20:

However, in contrast to the previous frame John has to attempt to save her life, not because she is not strong enough to save herself, but due to the seriousness of her injuries due to her confrontation with John. In a way due to her being saved Sarah may be conforming to Propps character types, however she fits in more closely with Goffman's character theory as it is a more due to her role as a 'femme fetale' The use of colour represents the characters current emotions much like Sin City has done, The cool blue colours of John's costume represents his calm and collectedness around this situation as he is used to these high levels of violence unlike Sarah, who wears red due to her bright, burning, adrenaline filled passionate anger at what has happened to herself and John.

Recce Report

First Location: Benn Kelly's Car: I have changed my first location as I believe that not letting the audience know what John's past job was adds to the mystery surrounding the narrative, which is a key feature of neo-noir films like Sin City and Se7en. This location is also easily accessible as it is one of my actor's to use, I only had to pay him back for fuel as well and that was reasonably cheap. Risk: The only possibly risk would be if my actor were to lose concentration whilst in his car which was counter measured by filming the scene whilst he drove around a car park.

Second location: Walnut tree avenue (The car park next to The Cressy Arms pub): This second location emphasises the fact that John is alone in this world, instead of going home right away he secludes himself and deals with his issues in a filled up car park where no one will notice him.
Risk: The only risk would have been car's driving around the car park but since it was filmed at night it was practically empty.

Third Location: 128 Hawley Road, The Davis Household (John's study):
This location is easily accessible to my actors and cheap to use. This is also great for my script as this will be John's personal study where his alcohol addiction is presented and when he goes down this dark path that Sam presents to him.
Risk: There is next to no risk for this location as there is nothing in this room that could seriously harm any of may actors apart from the laptop and computer, but it is highly unlikely that anything could seriously go wrong with that.



Fourth Location: 128 Hawley Road, The Davis' Garage (An Undisclosed Location):
This location is great to set the scene for my key frames as the natural dark lightening from the garage will present a dark, neo-noiresk feel to my photo's. This is also a easily accessible location for my actors as well as cheap to use. Risk: The only risk is some of the sharp objects stored inside the garage but that was counter measured by them being moved or covered up before filming.

Fifth Location: Green Street, Green Road, The Leigh Technology Academy Principals Office and the Admin Office (Sam's Building/Office): This location suits my topic of study as the size of the room will allow for a lot of tracking and observing shots in order to focus on the development in the sexual tension between Sarah and John. Risk: There is next to no risk for this location as there is nothing in this room that could seriously harm any of may actors apart from the laptop and computer, but it is highly unlikely that anything could seriously go wrong with that.

Sixth Location: Green Street, Green Road, The Leigh Technology Academy Principals Office (Sam's Office): This location is good for my key frames as I need some sort of office to access to make this final part of the film make sense. Risk: There is next to no risk for this location as there is nothing in this room that could seriously harm any of may actors apart from the laptop and computer, but it is highly unlikely that anything could seriously go wrong with that.

Textual Analysis

What are the narrative conventions of neo-noir film making? – Ben Davis

My study will focus on the narrative conventions of neo-noir films. To explore what narrative conventions are most prominent in neo-noir films, I will look at character theory. I will relate them to my primary texts characters. Neo-noir is a modernization of film noir. Film noir appeared after World War II in America, films often reflected its dark mood. These narratives were frequent with the protagonist following a journey with no good foreseeable ending. Film noir was mainly shot in black and white to present sombre themes. J. P. Telotte notes film noir will not sit still for an accurate or conventional portrait. (1) It engages and stimulates the audience to participate in a narrative quest rather than displaying a linear narrative with a predictable outcome. (2)

Some neo-noir films are based on comic books that have clear binary opposition, showing good triumphing over evil may suggest the outcome may be predictable. Mark Conard notes that film noir is a classic genre characterised by visual elements such as tilted camera angles, skewed scene compositions, and interplay between darkness and light. (3) Compared to neo-noir, there are few differences; however, these visual elements are reinforced through the characters as well as the characters personas.

Some neo-noir films are filmed in colour; an example of this would be one of my primary texts Se7en. The Dark Knight uses interplay between darkness and light to portray Batman as an intimidating, dangerous character. Sin City is filmed in black and white apart from certain parts of the film the use of skewed camera shots; partially stick to the conventions of film noir. Fight Club, like film noir and neo-noir films, have non-linear narratives with no distinct ‘good’ characters.

The analysis of my texts will centralise around Neo-noir films conformity to character film theory. The two are Propp and Goffman. If you put Propp’s character types in to context of neo-noir films, you may find that they are not applicable to every role. Propp’s character theory indicates that there were 7 broad character types in the 100 tales he analysed, which could be applied to media, for example, In the film the Lion King it is clear that Scar is The villain/false hero since he betrays and kills his brother Mufasa and struggles against the hero, Simba for control over Pride Rock. The donor, Mufasa, prepares Simba to be the king of Pride Rock, he also sends Simba on his journey to save Pride Rock from Scar. The helper would refer to Timone and Pumba who aid Simba on his quest. The princess, Nala, is whom Simba marries and is sought for during the narrative. The dispatcher, Raffiki, prepares Simba to go back to save Pride Rock (4).

Goffman’s theory may, apply more accurately to neo noir films due to the complexity of the characters. It requires broader categories for them to fit into. Goffman’s theory suggests that there are four character types used in any type of media text or production. This can be applied to the film Finding Nemo. The protagonist, Marlin, is the centralised character since it follows his journey to find his son. The deuteragonist, the secondary character, could be Nemo as he is the focal point of the narrative.  The bit player, Dory, is a character whose background is not clear to the audience. Finally, the fool, a character that uses humour to convey messages could be Bubbles, who makes the film more light-hearted (4).

Most neo-noir films seem to conform to Propp’s character types. In Se7en, there is no clear hero. Detective Mills could be perceived as a hero or false hero. The idea of it seems to be played with throughout the film. Mills’ seems to be a detective who wishes to make a difference in crime. But, in the end, one might say that he becomes evil. Cited by Terri Murray, both Doe and Mills perpetuate the wrongs they aspire to wipe clean. (5) Mills chooses to eradicate evil without realising his methods may be seen as immoral by being the ‘trigger-happy’ cop, completing John Doe’s ‘masterpiece’ when Mills kills him, becoming wrath.

Doe could be seen as the villain or dispatcher. His crimes caused Mills’ investigation. Detective Somerset is another character that is difficult to place in to a character archetype. He shares similarities to Doe as they are both educated and cultured. This could mean that even Doe is difficult to place in to a character type because of the complexity of his character. One of my references, tvtropes.org, notes they both recognise how horrible society is. They differ in their respective approaches to trying to improve the world. (6) This backs my point that Doe and Somerset are similar. This may suggest why he doesn’t fit in to Propps’ character types. There’s also no clear donor in Se7en due to Se7en being a neo-noir film. A donor usually gives a backstory to the hero’s journey and a neo-noir convention is to keep characters’ pasts a mystery.

If Se7en is applied to Goffman’s theory Mills fits the protagonist role, he is the leading character. A protagonist doesn’t need a high moral compass like a hero. The protagonist is simply a main character who moves the narrative forward. Mills has been used to do this, as the whole ending is comprised of his decision to kill Doe.

Somerset fits the role of the deuteragonist; he has an influential role in the narrative. He is a teacher and a mentor to Mills. His journey is ending because he wishes to retire after this case with Mills. The director may have done this in order for the spectator to align with this character because he seems to be the only character not corrupted by society. There is a use of film tropes in Se7en. A film trope is a phrase or image used in a new and different way in order to create an artistic effect. Cited from tvtropes.org, the trope of Red oni, Blue oni is used in Se7en. This trope is about two individuals who are significantly linked together somehow e.g. co-workers. They have differing personalities and, with it, often different approaches to the world in general, especially to whatever they might be competing in, for, or over. The Red Oni is associated with passion. A red oni character is often more brawns than brain, like Detective Mills for example. The Blue Oni is a polar opposite in most ways to The Red Oni. The Blue Oni is more intellectual and cultured like Somerset (7). So when analysing the use of this trope, one may suggest that Somerset could be seen as the Blue Oni. He is Mills’ co-worker and mentor trying to harden the Mills heart to the harsh realities of life. Attempting to show him the reality of a detective’s life in this part of town. This is almost identical to the description of The Red Oni. The young and emotional Mills’ later loses everything to John Doe, as he cannot control his impulsive nature that Somerset (The Blue Oni) tries to calm. (8)

John Doe could fit the role of the fool, but rather than humour to create messages, uses a more sinister method. This suggests that Goffman’s character theory may be suited to neo-noir films because they present less deterministic roles, which complex characters can fit into, better than Propp’s character archetypes which present fixed roles from fairy tales. Neo-noir attempts to represent a bleak ideology of society and a depressing view of the future.

Looking at mise-en-scene, if we compare Mills’ costume in the last scene of Se7en to earlier scenes, there’s a distinct difference in colour. On the left, below, Mills wears a darker outfit, mostly black. The white shirt he has worn throughout most of the film is covered by the black jumper. This may suggest that David Fincher has tried to highlight that Doe has essentially broken Mills. In context of Propp’s character types, this has changed Mills’ from the hero to the false hero. This could have caused the spectator to change their alignment with Mills’. They may now align more with Somerset due to the route that the director took with Mills’ character, shooting Doe multiple times. This may also change the spectators’ allegiance through the use of a-central imagining. Becoming unaligned and losing allegiance to Mills due to their own moral code, disagreeing with Mills’ reckless decision. Quoted from Wikipedia ‘Mills looks much younger than Detective Somerset, with a younger complexion and more modern hairstyle, leading us to think he will be quite vulnerable, and will perhaps be changed by the disruption of the equilibrium or the villain himself by the end of the film.’ (9) This is expressed by the darkness of his clothing. The colour black has been used to represent evil or corruption. Since Mills becomes the sin of wrath, it may not be a coincidence that he wears black in this scene. This could represent his tainted purity, covering the white shirt due to the colour white representing purity.

In context of the film Fight Club Propps’ character types may not apply completely to this neo noir film. It is very different from the other films that I have explored so far. You could argue that The Narrator is someone who he deludes himself to create Tyler Durden, who he wishes to be. Durden could fit multiple character types from Propps’ character types such as the dispatcher because, without the creation of Durden in the narrator’s mind, there would be no journey for him to embark on.  Durden could also be considered the villain due to the fact that he is a terrorist, bent on bringing down the current society. Durden may also be considered the helper, as without the creation of him, the narrator would have never begun to control his own life. Tyler is an amalgamation of these characters; this may be due to the fact that the narrator is schizophrenic. Through the use of diegetic sound, Durden attempts to coach the narrator in to not conforming to capitalism, which is what he really wants to do anyway; he wants to be an individual, being apart from the system. During the chemical burn scene, even though the use of diegetic sound is significant, the use of central imagining reinforces this as the narrator’s screams provoke the spectator to have a physical response, evoking feeling for him.

 

Roger Ebert looks in to Durden’s character. Whether Durden represents hidden aspects of the male psyche is a question the movie uses as a loophole--but is not able to escape through, because "Fight Club" is not about its ending but its action. (10) I agree with Ebert’s claim; the entire plot is driven by Durden’s actions and represents in terms of psychology, the narrator’s ID, taking over his Ego and Superego. Since Propps’ character types are meant to have one classification for one character, it simplifies roles played in film/media productions because Tyler’s character fits in to many of these roles throughout the film. Tyler sends the narrator on his journey as the dispatcher, he is the helper during the scene when the narrator’s apartment blows up, and he is the villain who destroys everything at the end. The reason for this is most likely due to Tyler being a manifestation of who the narrator wishes to be; he wants to reject the society he is forced into and creates an alternative. This links to Ebert’s exploration of Durden’s character a telling point about the bestial nature of man and what can happen when the numbing effects of day-to-day drudgery cause people to go a little crazy. (11) The use of mise-en-scene and dreary, Noir style lightning the narrators own opinion of the society is projected, painting capitalism in a negative light presenting capitalism as Tyler’s creator. This is represented through Durden’s clothing. His outfit differs from the colour palette used to create the setting, causing him to stand out. Durden’s jacket is red, since he is an anarchist and the colour red could represent revolution or anarchy.

If Fight Club is placed in context of Goffman’s character theory we are unsure whether the narrator is the protagonist and whether Tyler is the deuteragonist. This could be because the two are different manifestations of the same person. Due to this, Goffman’s theory may not be applicable to Fight Club since the protagonist is also the deuteragonist even though Goffman’s theory outlines a broader range of character types than Propp’s character types. It may seem that characters in Neo-noir films like Fight Club are too complex to fit into theories suggesting characters can only play the role of a single character type.

If Sin City’s put in context of Propps’ character types the only character type that characters fit in to at first glance seem to be false heroes and villain’s. Sin City is full of corruption, full of people with questionable morals. Marv is an example of this. Although he has good intentions, he wishes to avenge the character Goldie by murdering anyone who stands in his way. This suggests Marv may not fit in to Propp’s character types as he’s not a conventional hero, he’s described as a character that enjoys bloodshed. An example of this is where Marv kills Kevin, cuts off his limbs, watching his pet wolf eat him showing his sadistic side.

Mise-en-scene and cinematography is used to present a key example of Marv’s character. The scene shows Marv standing, holding Kevin’s severed head whilst holding a saw. The cinematography places Marv in a position of power with the use of a low angled shot, looking up at him. This reinforces the idea that Marv is a powerful individual and why he may fit in to the role of a hero or superhero based on his exaggeratted strength. However, mise-en-scene may portray him as a psycopathic killer or horror villain through the use of special effects to create lightening in the background. Peter Bradshaw expresses his own observation of Sin City. Everything is constructed digitally and composed in a starkly defined monochrome on which splashes of lurid colour show up like wounds. Their blood, are lividly painted on to the Weegee-photo-style black and white. (12) Bradshaw’s observation of style reinforces how Marv’s props, costume and makeup have been used.The blood is the only piece of colour shown, Marv has blood all over his face as well as his shirt. His props are a saw and Kevin’s severed head, causing him to further look like a horror villain. This suggest’s that due to the unpredictable and psychopathic nature of the character Marv could mean he is unable to be placed in to Propp’s character types as he seeks justice like a hero, but his means to reach that justice are more like a villain. Marv, could be described as an anti-hero.

Sin City play’s with the idea of a hero. There are, however, clear villians, such as The Yellow Bastard, the Rourk family, and Kevin. These characters are extreme exagerations of what it means to be evil. They are either cannibals, paedophiles, murderers, drug traffickers or rapists. The Yellow Bastard is an example of a extreme exaggeration of villain’s. He is a rapist and a murderer and therefore is presented in a way that distances the audiences from even viewing him as a human being. The use of mise-en-scene, specifically costume, present this. Central imagining is used to affect alignment. His disfiguared face combined with the characters nature causes him to be viewed as some sort of monsterous creature. This causes the spectator to feel repulsed by him and therefore failing to align with him.

There are a lot of characters who could be considered bit players in Sin City who, in neo-noir films would be considered ‘femme fetales’ like Miho and Gail. They both fit the role of bit players as they are characters who we are unaware of their past. They also fit the roles of deuteragonists, they both assist Dwight in his story, making it difficult in placement of a category of Goffman’s character theory. However,  due to the convention of ‘femme fetales’ in Neo-Noir films, they are characters who assist the protagonist but we are usually made unaware of their past and there is little character development. The mise-en-scene, specifically costume and make cause them to fit the role of the ‘femme fetale’. They are sexualised because they are dressed in such a way that does not leave much to the imagination. This fits the convention of the ‘femme fetales’ as in the film they are both seen as sexually promiscuous and dangerous.

The Dark Knight was influenced by a comic book; because of this, one might say that Propp’s character types may apply to this film due to comics being. Batman may be considered as the hero; he drives the narrative forward and he saves Gotham and defeats the Joker. In fairy tales Propp studied, a prince often adopts this role. This is ironic as Bruce Wayne who is Batman’s alter ego, is referred to as the prince of Gotham. The Joker is the clear villain in Batman as he attempts to terrorise Gotham and Batman, villains in fairy tales also attempt to do this and are deformed, like the Joker, the Joker also fits in to the idea of Neo-Noir since we are made unaware of his past. The use of mise-en-scene in this film makes villains such as the Joker and Two Face look frightening and deformities make the audience believe they are villainous before they speak. Two Face’s face is burnt, showing part of his skull. This use of makeup and effects make him look demonic, reinforcing his role as a villain in the narrative. The Joker has scars around his face. The mise-en-scene specifically his makeup makes him look like a clown. However, it is used to hide his scars, which are prominent on his face. This seems to make him a walking oxymoron. A clown who is meant to bring joy to people is instead terrorising them in a sadistic manner, reinforcing his role of a villain.

Finally, Harvey Dent may be seen as the false hero, since at the beginning Batman wishes for Harvey to take over his mantle as the protector of Gotham so he can retire. However, when Rachel is killed and Dent is left disfigured becoming the villainous Two-Face. This suggests that Propp’s character types may apply to The Dark Knight; this is reinforced by the use of binary opposition within the film between Batman and the Joker, the hero, versus the villain. Below, an example of this is shown. We can see Batman interrogating the Joker; the use of cinematography aligns us with the hero through an over the shoulder shot, observing Batman’s perspective. Batman is placed in a position of power through this shot and through diegetic sound his voice reinforces this, for example, his deep husky voice creates a symbol of his dark reckoning that he enforces on Gotham’s criminals.

In conclusion, Goffman’s character types apply to neo-noir films which involve thriller aspects. The characters are too complex and seem too real for them to be simplified down in to a categorisation e.g.  Se7en. Wheareas Propp’s character types apply to films adapted from action or fantasy. For example, The Dark Knight, Sin City and Fight Club are film adaptions from novels or comic books involving exaggeratted characters with seemingly superhuman abilities. Propps research for his theory was formed from fantasy stories and myths which involve a lot more characters which are simplified to fit in to these specific roles for the story.

Word Count: 3280

References:

J. P. Telotte, Voices in the Dark: Narrative Patterns of Film Noir (1)

http://www.crimeculture.com/Contents/Articles-Summer11/nissen_neo-noir.html#_ftn1 (2)

http://markconard.com/philosophyofneonoir.htm (3)

http://en.wikipedia.org/wiki/Character_theory_(media) (4)

https://philosophynow.org/issues/78/Se7en (5)

http://tvtropes.org/pmwiki/pmwiki.php/Film/Se7en (6)

http://tvtropes.org/pmwiki/pmwiki.php/Main/RedOniBlueOni (7)

http://allthetropes.wikia.com/wiki/Se7en (8)

http://hannahlovescomedy.wordpress.com/2009/11/30/textual-analysis-of-se7en/ (9)

http://www.rogerebert.com/reviews/seven-1995 (10)

http://www.rogerebert.com/reviews/fight-club-1999  (11)

http://www.theguardian.com/theguardian/2005/jun/03/1  (12)