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.