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.