Applying Functions - Walt Disney's The Lion King

1. Absentation - Simba is forced to leave Pride Rock by Scar and the Hyenas, their cunning plan has made Simba believe he killed his rather, and out of shame he runs away from his pack.

2. Interdiction - Simba is told by his father, Mufasa, that everything the light touchs will soon be his one day, when he becomes king. When Simba asks him about the 'Shadowlands' Mufasa forbids him to go there, saying it is only terrible danger which will await him, this intrigues Simba even more.

3. Violation of Interdiction - Simba and Nala sneak away from their escort, Zazu, and head for the Shadowlands, where they are ambushed by the Hyena pack.

4. Reconnaissance - Scar decides that he must kill Mufasa and Simba in order to become King of Pride Rock.

5. Delivery -

6. Trickery - Scar tells Simba that Mufasa needs to speak with him and leaves him on a vast area of desert, he then tells the Hyenas to chase down a herd along where Simba is waiting. Knowing that Simba will be in immediate danger very soon, Scar fetchs Mufasa, who is ignorant of his brothers plan. Mufasa rescues Simba, but is then killed by Scar as he throws him off a cliff and into the herd.

7. Complicity - Simba thinks himself corrupted and that he has killed Mufasa, under the encouragment of Scar.

8. Villainy and Lack - Scar kills Mufasa by throwing his brother off of a cliff he is hanging onto.

9. Meditation - Simba is becomes a victimized hero and is chased away by the Hyenas, along with their threats to kill him if he dared return and the guilt he feels for he thinks he has murdered his father, he runs from his family.

10. Beginning Counter Action - Nala accidently runs into Simba, and convinces him that his pack are nearly doomed, for Scar has taken over Pride Rock and driven it to ruin, enslaving the lioness's. Simba decides that he must return to Pride Rock and take his rightful place as king. This is a defining moment for the hero as this is the decision that sets the course of future.

11. Departure - Simba leaves the new home he has found with Timon and Pumba and sets off along with Nala and his new family to avenge his place as king.

12. First Function of the Donor - Timon and Pumba accompany Simba in his quest to Pride Rock and aid him through his battle with the Hyenas and Scar, who had taken over complete rule of the Pride Lands.

13. Hero's Reaction - Simba reacts to the actions of Rafiki.

''I know what i have to do. But going back will mean facing my past. Ive been running from it for so long.''

''Oh yes the past can hurt. But the way i see it, you can either run from it, or... learn from it.''

Rafiki tells Simba that he 'knows' his father and leads him through the wildlife to a secret pool, where Simba sees in his reflection, his father, Mufasa. Rafiki conjures Mufasa's spirit from the pool.

14. Receipt of a Magical Event - Simba receives advice from his fathers spirit, which convinces him that he is obligated to return to pride rock and take his rightful place as king.

''You have forgotten who you are and so have forgotten me. Look inside yourself, Simba. You are more than what you have become. You must take your place in the circle of life.''

15. Guidance - Simba is lead from his new home to return to Pride Rock, accompanied by Nala, Timon, Pumba and Rafiki.

16. Struggle - Simba, aided by his faithful family (Timon, Pumba, Nala, Pack of lionesses, including his mother) begin to fight with Scar who is aided by the Hyenas. Simba then goes on to battle Scar in one on one combat.

17. Branding - Simba is forced onto the edge of Pride Rock by Scar.

18. Victory - After Scar taunting him about his past, Simba admits to his family that he is the one who killed his father and their king, Mufasa and trys to assure them that it was an accident. However it is then revealed that Scar is the one who pushed Mufasa off of the cliff and to his death. Simba then goes to kill Scar, but mercifully lets him go. Scar is attacked by the Hyenas who he tried to blame for his motive for taking over the kingdom.

19. Liquidation - does not occur.

20. Return - Simba returns to the throne and his rightful place in the circle of life.

21. Pursuit - Does not occur.

22. Rescue - Simba as the hero, over-rules Scars physical power over him and has him at his mercy.

23. Unrecognized arrival - Simba left home when he was just a cub and has grown up with Timon and Pumba after running away from his past. It is serval years later when he finally returns to Pride Rock and even his mother fails to recognize him as a fully grown lion. Oly upon hearing his voice does Simbas mother truly realize that her son has returned.

24. Unfounded Claims - Scar forces Simba to admit to his family that he is the one who killed Mufasa, their beloved king. The truth is that Scar is actually the one who killed him.

25. Difficult task - Simba has to find the courage to reveal to his family what has haunted him for all this time. He then has to overcome Scar through physical strength.

26. Solution - Scar: ''I killed Mufasa!''

27. Recognition - Simba is recognized as the true King and heir to the throne.

28. Exposure - The pack realize that Scar is their true enemie as he killed Mufasa.

29. Transformation - Simba becomes whole as he is reunited with his family and his true place in the Circle of Life. ( Which is a soundtrack for the movie )

30. Punishment - Scar is banished from Pride Rock by Simba. However his punishment extends when he is killed by the Hyenas for betrayal.

31. Wedding - Simba marrys Nala, and they are united in marriage. The happily ever after is emphasized by the birth of a daughter.

Characters

The Villan - Scar, Simbas uncle whose life resolved around him ascending the throne after Mufasa dies, however this plan is ruined with the arrival of Simba, and Scar begins to plot schemes in attempt still to become king of pride rock.

The Magical Helper - Rafiki, an old and wise baboon who has been an advisor of Mufasa for a long time.

The Donor - Timon and Pumbaa, who teach Simba to be independant but also encourage him to take his place as king.

The Princess - Nala, who is enslaved by Scar when he takes over pride rock, and then goes on to marry Simba after his return.

The Dispatcher - Hyena pack, Scars army of Hyenas serve him and are sent by him to kill Simba, although Simba outruns them, they still tell Scar he is dead.

The Hero - Simba, who finds out that Scar was the murderer of his father, Mufasa. Simba kills scar, takes his true place as king of pride rock and marrys Nala.

Applying Theory

I have decided to apply Vladimir Propps theory to another well known Walt Disney fairytale production. After studying Cinderella and applying Propps functions to the storyline i made some connections between significant functions which did not occur in Cinderella but did however occur in The Lion King. By applying Propps theory to the Lion King as well as Cinderella i feel that i will have a more indepth knowledge of two disimilar fairytales, one set with a more traditional structure (Cinderella). Cinderella portrays all of the typical conventions of a fairytale, with a princess enslaved by her wicked stepmother and then rescued by the prince charming. The other (Lion King) which is set in Africa and is dominated by magical characters from all different species of the animal kingdom.

Applying Functions - Walt Disney's Cinderella

1. Abstentation - Cinderella leaves for the ball against her stepmothers wishes.

2. Interdiction - The King announces to the Prince that he must choose a bride and provide him with grandchildren. A ball will be held at the palace and the King invites every eligible maiden to attend in hope of his son falling in love.

3. Violation of Interdiction - The Prince is not interested in any other the maidens at the ball, much to The Kings annoyance.

4. Reconnaissance - Cinderellas evil stepsisters introduce themselves to Prince Charming and her wicked stepmother almost recognizes her whilst she is dancing with him.

5. Delivery - Cinderellas wicked stepmother finally realizes that it was her dancing with the Prince at the ball, and locks her in the attic with a hope that one of her daughters will be somehow proven as the Princes mysterious love.

6. Trickery - Cinderellas stepmother successfully captures her and imprisons her.

7. Complicity - One of Cinderellas wicked stepsisters manages to force her foot into the glass slipper, and the Grand Duke is convinced he has found the Princes love.

8. Villainy and Lack - The wicked stepmother purposely smashes the glass slipper and the Grand Duke feels all hope is lost.

9. Mediation - Gus and Jaque aid Cinderella as they steal the key from the wicked stepmother and carry it up many flights of stairs to her room which is at the top of the house. They deliver her the key and finally, she is free.

10. Beginning Counter-Action - Prince Charming demands that the glass slipper Cinderella left is to be tried on by every maiden in an attempt to find her.

11. Departure - does not occur.

12. First Function of the Donor - Gus and Jaque, with help from the other mice and birds, set to work on Cinderellas mothers old gown, which needs some work. Cinderella is unaware of this as she has been given lots of chores from her stepmother (who hopes she will not finish them as she will not be able to go to the ball.)

13. Hero's Reaction - does not occur.

14. Receipt of a Magical Agent - The Prince finds the glass slipper on the stairs to the palace.

15. Guidance - The guards try to follow Cinderella as she leaves at the stroke of midnight.

16. Struggle - The Prince is overcome by maidens who all want to impress him as he tries to pursue Cinderella.

17. Branding - does not occur.

18. Victory - The wicked stepmothers true intentions are revealed and she is banished from society.

19. Liquidation - Cinderella is freed and she is able to prove to the Grand Duke that she is the mysterious maiden although the glass slipper found by the Prince has been smashed.

20. Return - Cinderella returns to the palace.

21. Pursuit - does not occur.

22. Rescue - does not occur.

23. Unrecognized Arrival - After being assured by the wicked stepmother that there are no other maidens of the household, The Grand Duke is surprised by Cinderella shouting as she descends the staircase.

24. Unfounded Claims - does not occur.

25. Difficult Task - The Grand Duke cannot determine whether Cinderella is the mysterious maiden as the glass slipper has been broken.

26. Solution - Cinderella produces the other glass slipper, proving to The Grand Duke who she is.

27. Recognition - The Grand Duke realizes who Cinderella truly is and is astounded that he has located the Princes love.

28. Exposure - The wicked stepmother is left astonished at Cinderellas impossible escape from her locked bedroom and is revealed to The Grand Duke as a liar.

29. Transfiguration - Cinderella clothes are changed from rags to a beautiful wedding dress, her hair is no longer lank and down, it is up with a tiara, these signify a significant change in her fortunes to the audience.

30. does not occur

31. Wedding - Cinderella and Prince Charming get married.

Applying Theory

I have decided to apply Propps theory to Cinderella, a classic disney fairytale, which has also been modernized recently into 'A Cinderella Story'. Since i am aiming to produce a modern fairytale genre i think that applying the theory to this particular movie will widen my own knowledge of the simply yet enduring plots of fairytales.

Characters

The Villan - Cinderellas wicked stepmother and stepsisters, who both force her to become their slave when her father dies. Her wicked stepmother banishes her to the attick, where the only company she has are the animals. Cinderella is forced to cook and clean for her new vinidictive family.

The Hero - The Prince, who saves Cinderella from her imprisonment and after falling in love with her marrys her.

The Donor - Gus and Jaq, two of the main mice who Cinderella befriends. Their loyalty never falters throughout the movie, they work together to make Cinderella a beautiful dress so she can go to the ball and they also steal the key to the attick from Cinderellas wicked stepmother, in an attempt to save her.

The Helper - Cinderellas magical Fairy Godmother, who enables her to go to the ball, after her wicked stepsisters ruin her dress, she provides her with a new one, a carriage and glass slippers.

Her Father - Who loved and doted on his daughter very much, the fairytale is opened with his tragic death being revealed to the audience.

The Dispatcher - The Princes father, who encourages him in his new found mysterious love. He demands that a search for the mysterious maiden ( Cinderella ) must be conducted immediatly, and sends his most devout servant with the remaining glass slipper to find her.

The False Hero - The ugly stepsisters who try to claim the glass slipper as theirs, whilst Cinderella is locked in the attick and unable to try the slipper on and prove who she is.

Vladimir Propp

Vladimir Propp examined hundreds of fairytales in the generic form 'The Folk Wondertale' which was published in Russia in 1928. Although it was generally unnoticed in the West until it was translated in the 1950s.

Within 'The Monopoly of the Fairytale' he identified: 8 typical characters and 31 functions and these can be applied to almost any story, be it in literature, film, theatre and television. Propps theory is a form of structuralism which is a view that all media is inevitably in the form of certain fixed structures.

These structures are often culturally derived and form expectations in the mind of an audience from within that same culture. Thus genre structures form expectations in the mind of an audience that certain rules apply to the narrative. However cultural change can force structures to change, for example it is now common for the hero to be a woman.

An In depth Analysis of Pans Labyrinth

An analyse of 'Pans Labyrinth' concentrating mainly on the editing, sound effects, music and mise en scene.

(00:09) An opening medium shot of horses being ridden by soldiers (the audience gathers this partially through their uniformed clothes) they are partly hidden by trees which sets the screen in a forest, tracking is used to show the soldiers galloping through the forest. The backing music is light and enchanting which emphasizes the genre of the movie to the audience. It is a simple tune played by a piano and each note plays in sync to the movement of the shots, changing each time a new shot is played, the short gap of silence in between each note adds to the suspense and creates a Gothic like element towards the atmosphere. The shot is used for barely a second and is followed by a second medium shot, the dark lighting here contrasts with the previous shot where the soldiers are highlighted by daylight. The furniture and burning fire create a time period for the movie which traditionally meets the conventions linked to a fairytale movie and also add to the Gothic fairytale genre. A panel of window light is shining through to emphasize a sleeping child. Again the shot is quickly changed and followed by medium close up of one of the soldiers in the same forest. As he begins to turn towards the camera we return again to the child. A birds eye view shot is used to show her laying in bed, eyes open. The only lighting that is used is the same shadowy moonlight shining through the window. The variety of shots moving at a quick pace continues to capture the audiences attention and the trance like music emphasizes the eerie atmosphere.

(00:14) ''WHAT HAPPENS'' Medium sized, bold font is used for a caption. This is followed by a cut in, point of view shot, where we see a delicate child like hand placed upon a book illustrated with a fairy picture and fine border. This again emphasizes the genre of the film. I think that the lighting in this shot is particularly interesting as the left hand side of the book is tilted and therefore slightly shadowed, which focuses the readers initial intention onto the illustrations of the book.

(00:17) A mid-length body shot is used as we finally see the child in daylight. Her attention is on the book we just saw which creates a significant part for her character and the book within the movie. The time period of the movie is again portrayed by her costume which is a vintage pinafore dress and she is wearing a headband with a bow in her hair which is also evidence of her young age. The setting is again the forest we saw in the very first shot.

The audience are shown a variety of shots in just two distinctive settings in 17 seconds and are aware that both will play a significant part within the film. The house becomes life in the ordinary world to Ofelia, (the child), whilst the forest becomes her escapism from her cruel and sadistic stepfather (the soldier in the second shot). Within the forest, she finds a tree which becomes her passage through to an underground kingdom complete with mythical creatures.

(00:018) Another medium shot with a caption follows this, with the same font and background as the previous caption. ''WHEN MAKE BELIEVE'' This confirms the audiences initial ideas of the genre of the film.

(00:20) The notes of the piano begin to descend with a higher tempo. An establishing shot is used of the forest setting, Ofelia is in the centre of the shot. Her back is facing the camera and we watch her move towards a large tree which dominates the shot. The lighting is daylight, although the sun is not shining brightly through the thick forest trees. I particularly like the lighting of this shot as the audiences initial impressions are that it is twilight, another technique which significantly emphasizes the genre of the film, a Gothic fairytale. The shot lasts for just three seconds, as the audience sees Ofelia move carefully towards the tree (away from the camera). Ofelia's steps are in perfect synchronization with the descending notes of the piano, which cleverly entrances the audiences attention.

(00:23) ''BELIEVES ITS REAL?'' Again the same font and background. Each caption is kept short and precise, still revealing an engaging yet teasing snippet of the films storyline. No speech has been used yet and the silence of the trailer along with the music create a lot of tension for the audience. A rhetorical question is used so that the audience subconsciously begins to crave a more in depth knowledge of the mysterious storyline and the shot is held for longer than any previous ones as the question begins to linger in the audiences mind. The music changes here and hangs on just one note which is again a technique to build up the tension in the trailer.

(00:27) The note which has been held begins to fade as does the shot. It fades to a long shot of Ofelia, whose back is still towards the camera. The setting is a mystery as it is in complete darkness which contrasts with the previous natural lighting in the shot of Ofelia walking towards the tree. The audience knows enough that she is no longer in the forest. Tracking is used as Ofelia curiously walks towards the unknown. Sound effects are used to create a sound of powerful wind blowing, indicating that Ofelia is outside, these effects are used to emphasize the outdoor setting and create a gloomy, Gothic environment. The lighting is brought back to the shot, although it is now clear to the audience that Ofelia has passed through into another world. The lighting is dim, possibly moonlight and the scenery is cold, dark and extraordinary.

(00:32) The shot becomes focused on a unidentifiable object, as Ofelia (to the right-hand side of the shot) wanders deeper into the unknown.

(00:33) The music dramatically changes as an abnormal fairy like creature flies into the shot from the left hand side. The sudden change of music alerts the audiences attention to this significant part in the teaser. The close up shot of this creature is blurred and unfocused, making the audience's concentration become more pronounced. The music continues again on the lasting note, which is chilling and strained and adds to the emotional climax of the audience.

(00:34) The shot comes into focus implicitly indicating an approaching change to the audience. The music suddenly drops again, as the object the fairy creature is lingering by turns suddenly and two mythical circular blue eyes turn out towards the camera. The shot only lasts for a second, enough for the audience to see the dark mythical creatures that contradict those within a fairytale and indulge their interest into the film. The film is slowly introducing the gothic elements of the film which challenge the typical conventions of a fairytale.

(00:40) The music is deeper and faster, strong drums accompany a black screen as the tension comes to the dramatic climax of the trailer. A medium shot is used to show the mythical creature, which is a horrific and chilling site, directly opposite Ofelia, who stands their as entranced as the audience towards this creature. The lighting is dark, with a circle of moonlight shining down near Ofelia. The shot is in the same ghoulish area we saw Ofelia enter and lasts for just over a second, using tracking to show the creature begin to stride towards Ofelia.

(00:41) The first close up of Ofelia the audience sees, she is on her hands and knees, a large beetle is crawling up her bare arm. Her head turns down to the site of the repulsive bug crawling up her arm and her expression mirrors her fear. Sunlight is shining from the right hand of the shot, the direct Ofelia is crawling. Little of the setting is made clear to the audience, although the sunlight highlights several roots and vines which indicates that she is still in the magical forest.

(00:42) Again another quick movement is made. A point of view shot follows this, and an extreme close up shows a pair of black gloved hands (presumably male) unlocking a large black Victorian lock with a key. Throughout these shots the music has become sinister, speeding up constantly, it is dark and also quite classical music with a tenor group chanting alongside the drums. During this shot the audience clearly hears the clicking of the lock unlocking as he turns the key, again in perfect synchronization with the sound effect.

(00:43) Another medium shot is used again with Ofelia moving away from the camera through large double wooden doors. Her clothing looks like nightwear, and the setting indicates that we are at her home. I like the idea of the shots which follow Ofelia as they create the illusion that the audience are travelling with her through the adventure.
The camera zooms in towards Ofelia as she begins to open the doors and then blacks out.

(00:44) An establishing shot is used of Ofelia in a room. The lighting is just that of outside and the right hand side of the room is partially obscured for the audience. The furniture creates an unsettling and dreary setting for the audience. (Ofelia is banished to the attic by her stepfather, (the soldier) after her mother dies at childbirth.) Her clothing has become more worn and her hair appears less groomed. This implicitly portrays to the audience how her life has become a nightmare since she discovered