Josh Edited Script

Red Text - Added by Me

ACT 1 Scene 1
'Today, we we will be looking at an indigenous species to many urban areas. This creature is all around us, but rarely gets noticed. They are vital to the advancement of our society and without them... there would probably be no need for fast food. I am talking of the Student'
-Narrator enters a bedroom, match on action as opens door handle. The bedroom is messy with clothes on the floor, blinds closed and minimal natural light. He stands near the bed but with the right of the bed and room next to his shoulder fir a medium shot
'As you can see, the student has very little qualms about where they take up residence. Some have even been known to live in amongst piles of old food, and are close friends to scavengers such as rats and badgers for this reason. The sleeping patterns of these creatures vary greatly, and some, such as this particular specimen, are near nocturnal'
-Student moves and starts to wake up-
'I think we had better leave, as a tired student has been known to rival the anger of a freshly castrated grizzly bear. We should observe from afar'
-Narrator slowly heads to the door and leaves room, narration is done by voice over from now.
-Student starts to get up slowly and sits up. They reach out and grab the first clothes they can find, grunt and pull them on.
-Student walks downstairs to the kitchen while being followed by the camera-
- Camera setup to look like surveillance from high surface -
Narrator: 'Now the student is dressed and awake, the fight for food can begin. Often the student will live off scrapings and minimal food, such as last nights left over pizza or the last few crushed up cornflakes.
-Student is shown using the last of a bottle of milk-
- Student eats slice of pizza from work-surface -
Narrator: 'Often food can be scarce and the world will become a hard world place where only the fittest will survive'

SCENE 2
- Outside Old Mill Lane / Eastgate Campus -
Narrator: 'here we have the student in a social environment. The student is a very social sociable animal, often seen in packs and large groups in grassy areas. In the fast paced world of the student, the student relies on their pack for the latest updates and for security in a harsh environments''
-Show student hugging a girl and then someone laughing at their clothes or something. The students friends then start laughing at them too and the student leaves looking depressed'
Narrator: 'If the students dont keep up to date they risk being rejected and exiled form their pack, left to fend for themselves'

SCENE 3

-Show student entering his home, dressing in nice clothes and putting on aftershave-
'The student, left dejected from his run in with the pack earlier now has to redeem himself. He returns to his den to groom himself and coat himself in the most appealing pheromones to attract the opposite sex'
-Shot of the student walking up to his bedroom with a closeup on his facial expressions -
- Surviellence style shot of student walking around upstairs -
-Student goes in to bathroom and does his hair -
Narrator: 'Here we have the student assessing his plumage, ensuring every hair is in perfect place to guarantee maximum appeal. Once this is done, he leaves his den, setting out for the home of his mate'

SCENE 4

-Student arrives at girlfriends house and walks in, as he enters there is a repetitive suggestive banging-
-Medium Close up of the students face looking puzzled about the noises-
'Although sometimes in the cruel, animal world, a mate may be replaced if the replacement is deemed to be better or more suitable, sometimes even older and wiser mates may be selected'
-student opens bedroom door to two bodies under a duvet. At the same time as the duvet is pulled back, the narrator looks in to the camera and says-
'Such as me'\

Costume Research: Student

For our student character we need them to look authentic in the way that they dress around college and their social lives. When I'm at college I have noticed lots of people wearing the same kind of so called "fashion" which looks ridiculous. We want our character to dress casually but trendy e.g t-shirt, jacket, jeans etc.
I have got some images of the styles of clothing we want for our character.

My script edit

ACT 1 Scene 1
'Today, we we will be looking at an indigenous species to many urban areas. This creature is all around us, but rarely gets noticed. They are vital to the advancement of our society and without them... there would probably be no need for fast food. I am talking of the Student'
-Narrator enters a bedroom, match on action as opens door handle. The bedroom is messy with clothes on the floor, blinds closed and minimal natural light. He stands near the bed but with the right of the bed and room next to his shoulder fir a medium shot
'As you can see, the student has very little qualms about where they take up residence. Some have even been known to live in amongst piles of old food, and are close friends to scavengers such as rats and badgers for this reason. The sleeping patterns of these creatures vary greatly, and some, such as this particular specimen, are near nocturnal'
-Student moves and starts to wake up-
'I think we had better leave, as a tired student has been known to rival the anger of a freshly castrated grizzly bear. We should observe from afar'
-Narrator slowly heads to the door and leaves room, narration is done by voice over from now.
-Student starts to get up slowly and sits up. They reach out and grab the first clothes they can find, grunt and pull them on.
-Student walks downstairs to the kitchen while being followed by the camera-
Narrator: 'Now the student is dressed and awake, the fight for food can begin. Often the student will live off scrapings and minimal food, such as last nights left over pizza or the last few crushed up cornflakes.
-Student is shown using the last of a bottle of milk-
Narrator: 'Often food can be scarce and the world will become a hard world where only the fittest will survive'

SCENE 2

Narrator: 'here we have the student in a social environment. The student is a very social animal, often seen in packs and large groups in grassy areas. In the fast paced world of the student, the student relies on their pack for the latest updates and for security in a harsh environment''
-Show student hugging a girl and then someone laughing at their clothes or something. The students friends then start laughing at them too and the student leaves looking depressed'
Narrator: 'If the students dont keep up to date they risk being rejected and exiled form their pack, left to fend for themselves'

SCENE 3

-Show student entering his home, dressing in nice clothes and putting on aftershave-
'The student, left dejected from his run in with the pack earlier now has to redeem himself. He returns to his den to groom himself and coat himself in the most appealing pheromones to attract the opposite sex'
-Shot of the student walking up to his bedroom with a closeup on his facial expressions
-Student goes in to bathroom and does his hair'
Narrator: 'Here we have the student assessing his plumage, ensuring every hair is in perfect place to guarantee maximum appeal. Once this is done, he leaves his den, setting out for the home of his mate'

SCENE 4

-Student arrives at girlfriends house and walks in, as he enters there is a repetitive suggestive banging-
-Medium Close up of the students face looking puzzled about the noises-
'Although sometimes in the cruel, animal world, a mate may be replaced if the replacement is deemed to be better or more suitable, sometimes even older and wiser mates may be selected'
-student opens bedroom door to two bodies under a duvet. At the same time as the duvet is pulled back, the narrator looks in to the camera and says-
'Such as me'\


On the script all I have done is added a few more actions and shots that can be used to show the students facial expressions more as before I felt as thought it was lacking in that area. 

Our films classification

Suitable only for 15 years and over

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

Discrimination

The work as a whole must not endorse discriminatory language or behaviour.

Drugs

Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.

Horror

Strong threat and menace are permitted unless sadistic or sexualised.

Imitable behaviour

Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.

Language

There may be frequent use of strong language (for example, ‘fuck’). The strongest  terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.

Nudity

Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex

Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.

Theme

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Violence

Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

I believe our short film will be roughly a 15 at the tops, the content in it is definitely not in violation of what the guidelines posted below, or the ones listed in this post. The only scene that comes to mind that could possibly be on the edge of violating their regulations is the sex/nudity part. Our Narrator will pop his head out of the bed covers to say a line, in this scene that is the only thing that will be seen so it technically doesn't infringe upon it.

BBFC Film Classifications and guidlines

Video Recordings Act 2010 (VRA)

In January 2010, the Video Recordings Act 2010 (VRA 2010) came into force.  This simultaneously repealed and immediately revived without amendment the Video Recordings Act 1984, in order to correct a procedural error made during the passage of the VRA 1984.

The Human Rights Act 1998 establishes the right to freedom of expression, and the BBFC has to have regard to the impact of its decisions on the rights of any relevant person. The Act, however, permits such restrictions on freedom of expression as are prescribed by law and are necessary in a democratic society. These include the prevention of disorder or crime and the protection of health and morals.

The designation under which the BBFC operates in relation to ‘video works’ obliges the BBFC to seek to avoid classifying material which is itself in breach of UK law. The relevant laws include:

The Obscene Publications Acts 1959 and 1964 which make it illegal to publish a work in the UK which is ‘obscene’. In order for a work to be found obscene, it must be taken as a whole and have a tendency to deprave and corrupt (eg make morally bad) a significant proportion of those likely to see it. If publication can be justified as being for the ‘public good’ on the grounds that it is in the interests of science, art, literature or learning or other objects of general concern, then no offence has been committed.

The Protection of Children Act 1978 makes it illegal to make, distribute, show or possess ‘indecent’ photographs or pseudo-photographs of a child (that is, someone under the age of 18 years).

The Criminal Justice and Immigration Act 2008 makes the possession of an ‘extreme pornographic’ image a criminal offence. The Act defines such an image as one which is pornographic and grossly offensive, disgusting or otherwise of an obscene character and which portrays in an explicit and realistic way, an act which: threatens a person’s life; results, or is likely to result, in serious injury to a person’s anus, breasts or genitals; involves sexual interference with a human corpse; or involves bestiality. Works classified by the BBFC are excluded from this definition.

The Public Order Act 1986 makes it illegal to distribute or play to the public a recording of images or sounds which are threatening, abusive or insulting if the intention is to stir up racial hatred or hatred on the grounds of sexual orientation. Images and sounds which are threatening if the intention is to stir up religious hatred are also prohibited.

There are two Acts which cover animal welfare issues in films which the BBFC must also consider when classifying works. The Cinematograph Films (Animals) Act 1937 renders it illegal to show any scene ‘organised or directed’ for the purposes of a film that involves the cruel infliction of pain or terror on any animal or the cruel goading to fury to any animal. The Animal Welfare Act 2006makes it illegal to show or publish a recording of an animal fight which has taken place in the UK since 6 April 2007. An ‘animal’ is also defined as a vertebrate (but not in foetal or embryonic form) other than a man.

The Coroners and Justice Act 2009 makes it an offence to possess non-photographic fantasy images of child sexual abuse (ie. cartoons, drawings, computer generated images and other depictions). The Act strengthens the existing laws on child pornography to include non-photographic images of child abuse by creating an offence of possession of a ‘prohibited image of a child’.

Shot list & Draft script

ACT 1 Scene 1
(1)Medium Shot of narrator in front of a door
'Today, we we will be looking at an indigenous species to many urban areas. This creature is all around us, but rarely gets noticed. They are vital to the advancement of our society and without them... there would probably be no need for fast food. I am talking of the Student'
(2) A medium shot of the Narrator walking up to a door, then a match-on-action of him opening it
-Narrator enters a bedroom, match on action as opens door handle. The bedroom is messy with clothes on the floor, blinds closed and minimal natural light
(3) A medium-close up of  the Narrator to the right of the screen with the students clothes/bed on show to his left
'As you can see, the student has very little qualms about where they take up residence. Some have even been known to live in amongst piles of old food, and are close friends to scavengers such as rats and badgers for this reason. The sleeping patterns of these creatures vary greatly, and some, such as this particular specimen, are near nocturnal'
(4) Medium shot of the student from the bottom of the bed waking up
-Student moves and starts to wake up-
(5) A repeat of shot 5, while the Narrator slowly moves towards the door
'I think we had better leave, as a tired student has been known to rival the anger of a freshly castrated grizzly bear. We should observe from afar'
-Narrator leaves room, narration is done by voice over from now.
(6) Long shot of the student reaching onto the floor for clothes
-Student starts to get up slowly and sits up. They reach out and grab the first clothes they can find, grunt and pull them on.
(7) A meduim shot from behind the student, following him downstairs to the kitchen
Narrator: 'Now the student is dressed and awake, the fight for food can begin. Often the student will live off scrapings and minimal food, such as last nights left over pizza or the last few crushed up cornflakes.
(8) Close up on the left of the student, getting milk from the fridge
(9) Match-on-action of the student pouring milk into a bowl
-Student is shown using the last of a bottle of milk-
Narrator: 'Often food can be scarce and the world will become a hard world where only the fittest will survive'
SCENE 2
(10)Long shot of student stood outside a college building with friends
Narrator: 'here we have the student in a social environment. The student is a very social animal, often seen in packs and large groups in grassy areas. In the fast paced world of the student, the student relies on their pack for the latest updates and for security in a harsh environment''
(11) Close up over the shoulder shot of the student while hugging a girl
(12) Long shot of the students friends while they laugh at him 
-Show student hugging a girl and then someone laughing at their clothes or something. The students friends then start laughing at them too and the student leaves looking depressed'
Narrator: 'If the students dont keep up to date they risk being rejected and exiled form their pack, left to fend for themselves'
SCENE 3
(13) Close up of the student entering his house (from behind) 
(14) Cut to the student getting dressed in nice clothing
-Show student entering his home, dressing in nice clothes and putting on aftershave-
'The student, left dejected from his run in with the pack earlier now has to redeem himself. He returns to his den to groom himself and coat himself in the most appealing pheromones to attract the opposite sex'
(15) Over the  shoulder shot while following the student into the bathroom
(16) Close up shot of the student doing his hair (Shot using his reflection in a mirror)
-Student goes in to bathroom and does his hair'
Narrator: 'Here we have the student assessing his plumage, ensuring every hair is in perfect place to guarantee maximum appeal. Once this is done, he leaves his den, setting out for the home of his mate'
SCENE 4
(17) Low angle shot from the inside of the house, the student walking over the camera and into the house
(18) Extreme close up of the students face as he hears a banging noise
(19) Camera shaking while leading the student upstairs (Facing down the stairs while he walks up)
(20) close up of him opening the bedroom door (From over the shoulder)
(21) Cut to a medium-close up of the narrator sticking his head out of the duvet
-Student arrives at girlfriends house and walks in, as he enters there is a repetitive suggestive banging-
'Although sometimes in the cruel, animal world, a mate may be replaced if the replacement is deemed to be better or more suitable, sometimes even older and wiser mates may be selected'
-student opens bedroom door to two bodies under a duvet. At the same time as the duvet is pulled back, the narrator looks in to the camera and says-
'Such as me'
(20) Cut to black
(21) End

Costume Research

As this is a spoof production, we thought best if we mirrored/lightly mocked the outfit of an already famous documentary narrator.
We chose David Attenborough as he is easily the most famous and instantly recognisable narrator/presenter of nature documentaries.

The usual attire of David Attenborough on screen is a shirt, usually short sleeved and unbuttoned at the top as he is often in a warm, humid place.
As well as the shirts he tends to wear proper trousers as apposed to jeans/shorts, although his bottom half is rarely seen on camera - a technique we will try to reproduce.

Some examples of the clothing David Attenborough wears are shown below.

Theories of Narrative

Story - All the events of the film/program you see that happen or are implied via the characters or environment. (This is only diegetic material within the story)

Plot - Everything presented on the screen, this can include diegetic material and non-diegetic. This is stuff such as title sequence, credits and  anything else near enough that the characters wouldn't be able to see/hear.

Time 

Screen - Shortest (2 hours)

Story - Longest (25 years)

Plot - Medium (18 years)

Narration 

Range:

1) Unrestricted - When in tense situations, it cuts to the character and others around him

2) Restricted - Only the point of view of the character

Depth

1) Objective - Watching things

2) Subjective - Getting in peoples heads

Claude Levi Strauss - Binary Oppositions

Good - Evil

Light - Dark

Up - Down
Nature - Industry
East - West
Yorkshire - Bloody Southerners
Clean - Dirty

Syd Field's Three Act Plot

Act(1) : Setup
Act(2): Confrontation
Act(3): Resolution

(Vladimir Propp)

Proppian Analysis Comparison

Narrative Theory

A Proppian Analysis Comparison of "Raiders of the Lost Ark" & "Die Hard"

Eight Character Roles

Hero - John McLain
         - Indiana Jones
Villain - Hans Gruber & Blonde German Guy
            - Belloc/Nazis
Donor - villain with the radio and gun
           - Marion (amulet/medallion)
Helper - Chauffeur Argile & the black Cop
            - Marion/Falah
Princess - Holly McLain
              - Marion/Ark
Father - The Police
           - Government/University(God?)
Dispatcher - Christmas (The holiday period)
                  - Government Officials/University 
False Hero - Hans Gruber/ TV Anchorman Thorn-berg  
                  - Belloc (Saves Marion from Nazis)/Government

31 Functions

Preparation 

1) John McLain sets of to Los Angeles
1) Jones leaves university to find ark
2) Lift and doors locked down
2) He left Marion in the past/hates snakes
3) Villain, Hans Gruber, comes to the party
3) Sees Marion (later...snakes)
4) Hans Gruber asks around for who Takagi is
4) Nazies visit Marion
5) Find out who is he
5) Jones gets medallion 
6) Hans Gruber is mistaken for a Terrorist by Takagi
6) Nazies get Marion/Food is poisoned 
7) Takagi asks to be shot by Hans
7).....?

Complication

8) Hans does shoot him
8) Monkey dies/Needs staff/Needs map/Loses Marion
9) McLain overhears Takagi being interrogated
9) Goes to look for site of the map
10) McLain sets off the fire alarm
10) Finds where they should be digging

Transference

11) McLain goes to the top part of the building where it is still being built
11) Goes to site of the dig
12) Kills Heinrich and gets a radio and detonator
12) Finds map
13) Puts a note on the body "I have a machine gun ho-ho-ho
13) Reads hieroglyphs
14) Uses the radio to contact the Police and the chauffeur
14) Uses staff & medallion
15) Encounters Hans in the room with the glass door 
15) Finds location of the ark

Struggle

16) Shootout in the room with the glass on the floor (So he can't walk)
16) Jones fights Nazis
17) John gets glass shards in his feet
17) Jones gets a split lip/Gets shot
18) McLain shoots the vilains (In the room with the glass)
18) Nazi gets chopped up by aircraft propeller/Planes explodes/Defeats Nazis
19) Hans gets the detonators back, but McLain escapes
19) Jones escapes/Gets Marion/Gets Ark

Return

20) McLain returns to the place of safety (The bathroom)
20) Jones returns to village/Boards ship 
21) The vilains catch McLain near the top floor near the explosives
21) Caught by U-Boat
22) McLain hangs the vilain (Karl) with the chains
22) Hides in ship's funnel. Captain says he's dead
23) Tells the hostages to get down and it mistaken for a terrorist 
23) Not recognised by the Nazis (He's in uniform)
24) FBI thinks he is a terrorist and orders the gunships to open fire on him
24) Belloc says blow up the Ark
25) McLain has to escape from the roof from the FBI using the fire hose
25) Does Jones rescue Marion or get the Ark?
26) McLain escapes and rescues his wife, Holly
26) Jones & Marion escape 

Recognition

27) McLain meets the Cop and is recognised as a hero
27) Jones is recognised
28) Dwaine is shown to be an idiot
28) Government is exposed
29) McLain is given a new coat
29) Government locks up the Ark
30) Karl is killed, and the journalist gets punched
30) Nazis and Belloc are dead
31) McLain is reunited with his family and goes home in the limousine 
31) Jones & Marion go for a drink 

Narrative Theories

          Todorov

          The theory is simply this:

• The fictional environment begins with a state of equilibrium (everything is as it should be)
• It then suffers some disruption (disequilibrium)
• New equilibrium is produced at the end of the narrative
  
  
  Personally I think that this theory could be implemented into our short production quite well seeing as the type is a 'mockumentary', where the thing in focus is a teenager, as it's pretty obvious that teenagers come across struggles throughout the years.
  A quick example could be that the teenager gets into trouble with the police repeatedly for harassing a neighbourhood, then to solve this he is restricted as to when he can go to said neighbourhood, such as only when it's day light. Equilibrium is restored but it is not how it used to be. 
  
  
  Vladimir Propp
  
  
  Vladimir Propp's theory is that after an initial event, the characters/plot will go through one or more of the following situations:
  
  
  1. 
     ABSENTATION: A member of a family leaves the security of the home environment. This may be the hero or some other member of the family that the hero will later need to rescue. This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person.
  2. INTERDICTION: An interdiction is addressed to the hero ('don't go there', 'don't do this'). The hero is warned against some action (given an 'interdiction').
  3. VIOLATION of INTERDICTION. The interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away.
  4. RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc.; or intended victim questions the villain). The villain (often in disguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way.
  5. DELIVERY: The villain gains information about the victim. The villain's seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location.
  6. TRICKERY: 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). The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend and thereby gaining collaboration.
  7. COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. This may range from providing the villain with something (perhaps a map or magical weapon) to actively working against good people (perhaps the villain has persuaded the hero that these other people are actually bad).
  8. VILLAINY or LACK: Villain causes harm/injury to family 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.). There are two options for this function, either or both of which may appear in the story. In the first option, the villain causes some kind of harm, for example carrying away a victim or the desired magical object (which must be then be retrieved). In the second option, a sense of lack is identified, for example in the hero's family or within a community, whereby something is identified as lost or something becomes desirable for some reason, for example a magical object that will save people in some way.
  9. MEDIATION: Misfortune or lack is made known, (hero is dispatched, hears call for help etc./ alternative is that victimized hero is sent away, freed from imprisonment). The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish and woe.
  10. BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the lack, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of future actions and by which a previously ordinary person takes on the mantle of heroism.
  11. DEPARTURE: Hero leaves home;
  12. FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc., preparing the way for his/her receiving magical agent or helper (donor);
  13. HERO'S REACTION: Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against him);
  14. RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent (directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters);
  15. GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
  16. STRUGGLE: Hero and villain join in direct combat;
  17. BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
  18. VICTORY: Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
  19. LIQUIDATION: Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revived, captive freed);
  20. RETURN: Hero returns;
  21. PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
  22. RESCUE: 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. UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
  24. UNFOUNDED CLAIMS: False hero presents unfounded claims;
  25. DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
  26. SOLUTION: Task is resolved;
  27. RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
  28. EXPOSURE: False hero or villain is exposed;
  29. TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc.);
  30. PUNISHMENT: Villain is punished;
  31. WEDDING: Hero marries and ascends the throne (is rewarded/promoted)
  
  

Propp's theory of Characters and Narrative

This is a theory written by Vladimir Propp and Tzvetan Todorov which states that in all stories, each character will fit in to at least (possibly more) one of eight character profiles, and each story will make use of a variety of 31 different 'sections' to make a narrative.

After analysing a hundred Russian folk tales, Propp and Todorov decided that each character would fit in to at least one of eight profiles:

1. The Villain - Struggles against the hero.
2. The Dispatcher - Character who informs the hero on lack and sends him on his quest.
3. The (magical) Helper - Helps hero during quest.
4. The Princess/Prize - Hero deserves to marry her, but cannot throughout the film because of the villain, often the quest is ended with the Hero and the Princess getting married.
5. Her Father - Gives Hero task and identifies False Hero, Propp noted that the Princess and the Father cannot be clearly distinguished.
6. The Donor - Prepares the Hero
7. The Hero or Victim/ Seeker Hero - Reacts to the donor and gets married to the Princess
8. False Hero - In order to marry the Princess, he takes credit for the Heroes actions to impress her.

The theory does state that each character must fit in to one of these profiles, but not ONLY one. E.G, the Father may also be the Villain.
Once these have been established, it can be predicted what the character will do within the story, as each profile has per-detirmined actions relating to their role in the narrative.

After the characters are decided and the initial idea for the narrative is chosen, what happens in the story can then be broken down in to 31 different sections, which are as follows:

1. Absentation
- This section usually includes a member of a family to leave the security of their home. The instant division of family/lack of security at such an early stage in the film immediately injects the storyline with tension. This particular character usually ends up being the hero/heroin of the story, and usually returns to rescue a member of their family. The hero will be shown as an ordinary person in this section but will be perceived in a different way after they overcome a courageous situation and prove everyone they are the rightful heroes.
2. Interdiction
- The hero or main character is given an interdiction and warned against doing something. An example of this would be where there is a sign prohibiting access to a particular place, and at this point the hero has to decide whether to carry on in his quest or not. The hero always ends up taking the prohibited/dangerous route, this helps arise suspense for the viewers.
3. Violation of Interdiction
- When the hero has entered the prohibited place, the villain is introduced. This usually results in misfortune and involves many obstacles for them to overcome. The whereabouts of the villain is not always clear to the hero; this is because usually the villain is lurking around without hero knowing. Another probable situation is to place the villain at the heroes’ family home threatening to cause harm to the family members.
4. Reconnaissance
- The villain attempts to reconnaissance. Usually, the villain tries to find valuable family possessions or even take the children or young family members to obtain desired information. Children are often taken because they are perceived to be vulnerable and helpless, which may be the villains’ tactful thinking as he can obtain the desired information with ease. This also gives the chance for the hero to shine as he can save them from the evil grasp of the villain. However, this technique is often undertaken by the villain to lure the hero into confrontation and result in the meeting of the two vital characters.
5. Delivery
-Villain seeks to meet hero, already knowing why he is special. At this point the villain receives some of the acquired information, usually through the innocent and frightened family member.
6. Trickery
-Often at this particular point the villain and hero/victim have yet to meet, or have only briefly met prior to this point. Tricking takes place in this section, usually this includes gaining the confidence of the hero/victim by using tactful tricks and disguises. This is done to fool the hero/victim into the villain is in actual fact a friend. At this point the villain has also taken somebody close to the hero/victim as a hostage and requires the hero to supply the villain with certain information or possessions.
7. Complicity
-Hero/victim is taken in by the villains’ disguises and deception. Due to the false confidence that has been provided by the villain they naively help him without knowing that the information he is obtaining from them is working against the good.
8. Villainy or Lack
-Either friend of hero or family member desire or lack something that can be provided by the villain. Villain usually offers what is desired in exchange of some important information on the hero. An alternative to this is that usually the villain inflicts pain onto one of the characters closest to the hero. This can range from forced marriage to death.
9. Mediation
- Villainy or lack is discovered or made known to the hero.
10. Beginning Counter-action
-At this point, the ordinary person needs to make an important decision which will set out a course of strenuous obstacles that will define the mantle of heroism.
11. Departure
- Hero leaves home.
12. First Function of Donor
- The donor tests, interrogates and attacks the hero which allows preparation to defeat the villain.
13. Hero's Reaction
-Hero reacts to what is being inflicted by future donor/helper; this could be by failing tests presented to the hero or even refusal to submit entirely.
14. Receipt of Magical Element
- Hero acquired consumption of a magical element.
15. Guidance
- Heroes location changed to lead onto whereabouts of an object of the search.
16. Struggle
- The hero rebels and forms situation that leads to a confrontation with the villain, which usually results in direct combat.
17. Branding
- The hero is 'branded' by the villain during the combat; this is usually a serious wound that leads the audience to believe that the villain may win the battle. This helps arise suspense and tension for the audience.
18. Victory
- After 'branding' the hero somehow finds it within him to gather enough strength to defeat the villain and claim his rightful victory.
19. Liquidation
- The villainy or lack is resolved or overcome by the defeat of the villain and normality is replaced.
20. Return
- After the quest is over, the hero returns to his family home.
21. Pursuit
- On the way back to his home, the hero is pursued. The pursuer usually intends on killing or seriously harming the hero.
22. Rescue
- The hero is rescued from the pursuer; this is sometimes done by using obstacles and delaying the pursuer or by the hero going into hiding.
23. Unrecognised Arrival
- Hero is placed in an unfamiliar place, usually in another country, where he is unrecognised.
24. Unfounded Claims
- The false hero is now introduced, interpreting original heroes’ acts.
25. Difficult Task
- The hero is proposed with difficult tasks to prove that he is who he claims to be. This can be done through various tests and riddles.
26. Solution
-The tasks and riddles proposed to the hero are successfully overcome and his identity is reclaimed.
27. Recognition
- The hero is recognised, usually through the 'branding' earlier inflicted by villain.
28. Exposure
- False hero is finally exposed by the real hero.
29. Transfiguration
- The hero is given a new appearance; this is usually done by the use of new garments resulting from his courageous act.
30. Punishment
- Villain/False Hero is punished. This is usually done by imprisonment or banishment.
31. Wedding
- Hero marries and is rewarded for completing the torturous quest and overcoming the villain and other evil characters.

(Taken and re-worded from http://media-studies-thriller.blogspot.co.uk/2011/03/vladimir-propps-narrative-theory.html)