Narrative and

Semiotic Analysis

A Practical approach

Vladimir Propp (The Morphology of the Folktale, 1928)

• Russian formalist

• 31 Functions

• 8 Character types

• Spheres of Action

stories are character driven and plots develop around characters

31 Narrative Functions

Propp’s Theory - 8 Character Roles/ Types

1. The hero (who has a quest)

2. The villain (struggles against the hero, tries to stop him completing his mission.)

3. The donor (prepares the hero or gives the hero some magical object)

4. The helper (helps the hero in the quest)

5. The princess (the heroes reward)

6. Her father (gives the hero his reward for completing the quest)

7. The dispatcher (character who makes the lack known and sends the hero off)

8. The False Hero (takes credit for the hero’s actions)

Propp’s Theory - 8 Character Roles/ Types The hero (who has a quest) The villain (struggles against the hero, tries to stop him completing his mission.) The donor (prepares the hero or gives the hero some magical object) The helper (helps the hero in the quest) The princess (the heroes reward) Her father (gives the hero his reward for completing the quest) The dispatcher (character who makes the lack known and sends the hero off) The False Hero (takes credit for the hero’s actions)

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0. Initial Situation: There’s a family or a hero living somewhere.

Harry Potter, a seemingly ordinary boy, lives with his hostile relatives, the Dursleys, in Surrey

1. Absentation: A member of the family is dead, kidnapped or lost. Something’s missing from the hero’s life.

Voldemort kills Harry's parents

2.Interdiction: Someone tells the hero “Whatever you do, don’t…” (open the door, go into the woods, etc.)

For his cousin Dudley’s birthday, the Dursleys and Harry go to the zoo, but before they leave, Mr. Dursley tells Harry not to do any funny stuff while they’re there

3. Violation of Interdiction: The hero does exactly what has been forbidden, or fails to do something he’s been told to do.

In the Reptile House, Harry talks to one of the snakes, and Dudley pushes him out of the way. Angry, he performs magic without meaning to, releasing the snake and trapping Dudley

Propp’s Functions

The Initial Situation: There’s a family or a hero living somewhere. 1.      Absentation: A member of the family is dead, kidnapped or lost. Something’s missing from the hero’s life. 2.      Interdiction: Someone tells the hero “Whatever you do, don’t…” (open the door, go into the woods, etc.) 3.      Violation of Interdiction: The hero does exactly what has been forbidden, or fails to do something he’s been told to do. 4.      Reconnaissance: The villain, perhaps tipped off by Function III, seeks information about the hero. (Or the hero may seek information about the villain.) 5.      Delivery: The villain gets information about the hero. Or the hero gets information about the villain, perhaps brought by an informant. 6.      Trickery: The villain uses information to deceive or trap the hero, or to steal something. 7.      Complicity: The hero is tricked, or unwittingly helps the enemy. 8.      Villainy or Lack: The villain does harm to the hero or someone close to him or her; or something vital to the hero and hero’s world is missing. 9.      Mediation, the Connective Incident: A dispatcher makes misfortune or lack known to the hero; the hero is approached with a request for help, sent on a mission by the dispatcher, or released from captivity. 10.  Beginning Counter-Action: Usually a verbal declaration of the hero’s intent. 11.  Departure: The hero leaves home to undertake the adventure. 12.  First function of the Donor: The hero meets a “donor” who first tests or questions him, perhaps even attacks him. 13.  Hero’s Reaction: The hero passes the test, or else fails temporarily. It might take three tries, but he or she passes the test eventually. 14.  Receipt of a Magical Agent: The hero receives weapons, equipment, magical powers, or transportation from the Donor, or wins the support of an ally or helper. 15.  Guidance: The hero is transported or guided to a new land where lies the object of his search. 16.  Struggle: The hero and villain do battle, match wits, play cards, etc. or the hero struggles to replace what is lacking. 17.  Branding: The hero is visibly wounded in the battle, or is branded or marked somehow after the battle, or receives a token like a ring or scarf, which will later prove his victory. 18.  Victory: The villain is defeated. 19.  Liquidation: The harm done by the villain is healed or whatever was lacking is restored. 20.  Return: The hero heads for home, or for the court of a king. 21.  Pursuit: The hero is pursued by the villains relative or associate. 22.  Rescue: The hero is rescued or rescues someone. 23.  Unrecognized Arrival: The hero is not recognized on arrival at the destination. 24.  Unfounded Claims: A new villain claims credit for defeating the first villain or claims the right to marry the princess/inherit the kingdom. 25.  Difficult Task: The princess (or her father) sets a difficult task for the hero, or the hero must compete with the false claimant to do the task. A series of three tasks is not uncommon. 26.  Solution: The hero manages to perform the difficult task(s), often with the aid of a magical helper or agent. 27.  Recognition: The hero is recognized because he or she was able to perform the task(s) or because someone sees the brand or token proving that he or she defeated the villain. 28.  Exposure: The villain fails to perform the task or otherwise is revealed to be an imposter. 29.  Transfiguration: The hero acquires a new appearance. He or she is magically transformed or receives new garments symbolizing a new status. 30.  Punishment: The (second) villain is punished by the princess or her father. 31.  Wedding: The hero marries the princess or takes possession of all or half of the kingdom.

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4. Reconnaissance: The villain, perhaps tipped off by Function III, seeks information about the hero. (Or the hero may seek information about the villain.)

Harry wonders why he is famous in the Wizarding World and Hagrid tells him why.

5. Delivery: The villain gets information about the hero. Or the hero gets information about the villain, perhaps brought by an informant.

Voldermont’s attack on Harry rebounded, leaving only a lightning-bolt scar on Harry's forehead and rendering Voldemort powerless

6. Trickery: The villain uses information to deceive or trap the hero or to steal something.

In Diagon Alley, he meets several witches and wizards who all know his name, including Professor Quirrell.

7. Complicity: The hero is tricked or unwittingly helps the enemy.

Harry concludes that his Potions teacher, Severus Snape, is trying to obtain the stone

Propp’s Functions

The Initial Situation: There’s a family or a hero living somewhere. 1.      Absentation: A member of the family is dead, kidnapped or lost. Something’s missing from the hero’s life. 2.      Interdiction: Someone tells the hero “Whatever you do, don’t…” (open the door, go into the woods, etc.) 3.      Violation of Interdiction: The hero does exactly what has been forbidden, or fails to do something he’s been told to do. 4.      Reconnaissance: The villain, perhaps tipped off by Function III, seeks information about the hero. (Or the hero may seek information about the villain.) 5.      Delivery: The villain gets information about the hero. Or the hero gets information about the villain, perhaps brought by an informant. 6.      Trickery: The villain uses information to deceive or trap the hero, or to steal something. 7.      Complicity: The hero is tricked, or unwittingly helps the enemy. 8.      Villainy or Lack: The villain does harm to the hero or someone close to him or her; or something vital to the hero and hero’s world is missing. 9.      Mediation, the Connective Incident: A dispatcher makes misfortune or lack known to the hero; the hero is approached with a request for help, sent on a mission by the dispatcher, or released from captivity. 10.  Beginning Counter-Action: Usually a verbal declaration of the hero’s intent. 11.  Departure: The hero leaves home to undertake the adventure. 12.  First function of the Donor: The hero meets a “donor” who first tests or questions him, perhaps even attacks him. 13.  Hero’s Reaction: The hero passes the test, or else fails temporarily. It might take three tries, but he or she passes the test eventually. 14.  Receipt of a Magical Agent: The hero receives weapons, equipment, magical powers, or transportation from the Donor, or wins the support of an ally or helper. 15.  Guidance: The hero is transported or guided to a new land where lies the object of his search. 16.  Struggle: The hero and villain do battle, match wits, play cards, etc. or the hero struggles to replace what is lacking. 17.  Branding: The hero is visibly wounded in the battle, or is branded or marked somehow after the battle, or receives a token like a ring or scarf, which will later prove his victory. 18.  Victory: The villain is defeated. 19.  Liquidation: The harm done by the villain is healed or whatever was lacking is restored. 20.  Return: The hero heads for home, or for the court of a king. 21.  Pursuit: The hero is pursued by the villains relative or associate. 22.  Rescue: The hero is rescued or rescues someone. 23.  Unrecognized Arrival: The hero is not recognized on arrival at the destination. 24.  Unfounded Claims: A new villain claims credit for defeating the first villain or claims the right to marry the princess/inherit the kingdom. 25.  Difficult Task: The princess (or her father) sets a difficult task for the hero, or the hero must compete with the false claimant to do the task. A series of three tasks is not uncommon. 26.  Solution: The hero manages to perform the difficult task(s), often with the aid of a magical helper or agent. 27.  Recognition: The hero is recognized because he or she was able to perform the task(s) or because someone sees the brand or token proving that he or she defeated the villain. 28.  Exposure: The villain fails to perform the task or otherwise is revealed to be an imposter. 29.  Transfiguration: The hero acquires a new appearance. He or she is magically transformed or receives new garments symbolizing a new status. 30.  Punishment: The (second) villain is punished by the princess or her father. 31.  Wedding: The hero marries the princess or takes possession of all or half of the kingdom.

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8. Villainy or Lack: The villain does harm to the hero or someone close to him or her; or something vital to the hero and hero’s world is missing.

Voldemort killed Harry's parents

9. Mediation, the Connective Incident: A dispatcher makes misfortune or lack known to the hero; the hero is approached with a request for help, sent on a mission by the dispatcher, or released from captivity.

On his eleventh birthday, Harry learns from a mysterious stranger, Rubeus Hagrid, that he is actually a wizard

10. Beginning Counter-Action: Usually a verbal declaration of the hero’s intent.

On his eleventh birthday, Harry learns from a mysterious stranger, Rubeus Hagrid, that he is actually a wizard

11. Departure: The hero leaves home to undertake the adventure.

Hagrid reveals to Harry that he has been invited to attend Hogwarts School of Witchcraft and Wizardry.

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12. First function of the Donor: The hero meets a “donor” who first tests or questions him, perhaps even attacks him.

The twin wand to the person who gave him his lightning bolt scar, and Hagrid purchases an owl as a birthday present for Harry

13. Hero’s Reaction: The hero passes the test, or else fails temporarily. It might take three tries, but he or she passes the test eventually.

As Slytherin is noted for being the house of darker wizards and witches, Harry successfully begs the magical Sorting Hat not to put him in Slytherin

14. Receipt of a Magical Agent: The hero receives weapons, equipment, magical powers, or transportation from the Donor, or wins the support of an ally or helper.

Harry buys a wand from Mr. Olivander

15. Guidance: The hero is transported or guided to a new land where lies the object of his search.

After buying his school supplies from the hidden wizarding street, Diagon Alley, Harry boards the train to Hogwarts via the concealed Platform 9¾ at King's Cross Station

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16. Struggle: The hero and villain battle, match wits, play cards, etc. or the hero struggles to replace what is lacking.

One night, he, Ron, and Hermione find a giant three-headed dog on the Forbidden Corridor on the Third Floor at the school. Ron and Harry successfully take down an escaped mountain troll

17. Branding: The hero is visibly wounded in the battle, or is branded or marked somehow after the battle, or receives a token like a ring or scarf, which will later prove his victory.

Harry is nearly knocked off his broom (also Struggle) by a powerful curse during one of the Quidditch matches (which he wins by catching the snitch

Harry gets branded with a lightening shaped scar as a child.

18. Victory: The villain is defeated.Quirrell then tries to take the stone but Harry grabs his face, causing Quirrell to turn into dust and die

19. Liquidation: The harm done by the villain is healed or whatever was lacking is restored.

Harry wakes up in the school's hospital wing, with Professor Dumbledore at his side. Dumbledore explains that the stone has been destroyed and that both Hermione and Ron are fine

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20. Return: The hero heads for home, or for the court of a king.

Before Harry and the rest of the students leave for the summer, Harry realises that while every other student is going home, Hogwarts is truly his home

21. Pursuit: The hero is pursued by the villains relative or associate. Harry is pursued by Quirrell.

22. Rescue: The hero is rescued or rescues someone.

Rescuing Hermione from the mountain troll after Harry is nearly knocked off his broom

23. Unrecognized Arrival: The hero is not recognized on arrival at the destination.

In the final room, Harry finds out that it was not Snape who wanted the stone, but the Defense Against the Dark Arts teacher Professor Quirrell

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24. Unfounded Claims: A new villain claims credit for defeating the first villain or claims the right to marry the princess/inherit the kingdom.

25. Difficult Task: The princess (or her father) sets a difficult task for the hero, or the hero must compete with the false claimant to do the task. A series of three tasks is not uncommon.

26. Solution: The hero manages to perform the difficult task(s), often with the aid of a magical helper or agent.

Quirrell then tries to take the stone but Harry grabs his face, causing Quirrell to turn into dust and die

27. Recognition: The hero is recognized because he or she was able to perform the task(s) or because someone sees the brand or token proving that he or she defeated the villain.

At the end of year feast, Dumbledore gives last minute house points to Harry, Ron, Hermione and Neville for their bravery and smarts

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28. Exposure: The villain fails to perform the task or otherwise is revealed to be an imposter.

While trying to get Harry to answer what he has seen in the mirror, Quirrell removes his turban and reveals Voldemort to be living on the back of his head

29. Transfiguration: The hero acquires a new appearance. He or she is magically transformed or receives new garments symbolizing a new status.

Harry is transformed when he gets his wand.

30. Punishment: The (second) villain is punished by the princess or her father.

Quirrell then tries to take the stone but Harry grabs his face, causing Quirrell to turn into dust and die

31. Wedding: The hero marries the princess or takes possession of all or half of the kingdom.

Gryffindor wins the house cup

Semiotic analysis of an advertisement

Syntagmatic: meaning is constructed specially across the page. Begins at eye level, works down to rose, logo, (anchorage) and ends at fragrance bottle (i.e. attractive young woman who is sexy flirtatious confident and playful is Miss Dior and Miss Dior is also the perfume).

Focal point: woman's eyes draw the viewer down to the rose, with her hair bridging the gap between the text, and lastly the product. Structure of perfume bottle contrasts with the organic form of the body.

Denotive: woman, Rose, nudity Conotive: Woman (Natalie Portman) holding a strong gaze with the viewer while holding a rose in her mouth conotes confidence, sexual temptation, desire and a seductive playfulness. The consumer’s previous knowledge of the Dior brand and Natalie Portman combined with the connotations exuded in the image to transfer messages of both sophistication and flirtatiousness into the fragrance.

Icon: direct representation of beautiful, young, seemingly naked woman

Icon: pink rose

Anchorage: Dior is a French brand with a penchant for sophistication, class and style ‘Miss Dior’ suggests that this perfume is for younger women who subscribe and/or aspire to the Dior brand identity.

Icon: bottle of perfume Conotive: bottle of perfume is same colouring as woman - conotes that the same qualities of woman are bottled into a fragrance.

Signified: lust, sex, sexual

desire, seduction, temptation, flirtatious.

Signifier: young woman gazing at viewer while biting stem of pink

rose.

Signified: smart, sexy,

charismatic, sophisticated

Signifier: Natalie Portman

Signified: confidence, sexual

desire, playful ness.

Signifier: seemingly naked woman leaning on a

chair

Icon: pale blue chair

Syntagmatic: meaning is constructed spatially across the page. Begins at eye level, works down to product name/tagline/ logo (anchorage), ends at fragrance bottle (i.e. lifestyle of beautiful young woman living a luxury as holiday associated to the feeling of wearing the fragrance).

Denotive: couple, yacht, sailing Conotive: Sailing is associated with wealth and relaxing on a summer holiday. Escape from the daily 9-to-5 and pressures of ‘real’ life. Woman is associated with beauty, purity, youth, an upper-class lifestyle meaning transfers onto perfume

Focal point: woman's eyes and product name are boat focal points

Icon: direct representation of young woman and young man Index: causal relationship between them indicates that they are a couple

Icon: yacht or sailing boat Symbol: Arbitary relationship between being on a yacht, freedom, wealth and leisure

Icon: direct representation of perfume bottle

Denotive: woman looking directly at viewer, man behind (cannot see his face)Conotive: direct eye contact with viewer connotes independence and confidence on the woman's behalf. Meaning transfers to perfume (i.e. a woman who wears the scent can feel confident in and of herself)

Signified: fresh, carefree,

confident, comfortable

Signifier: woman wearing white summer outfit

Signified: beauty, wealth, class,

freedom, summer vacation.

Signifier: attractive talented young woman relaxing on

a yacht.

Icon: direct representation of ocean/being at sea

Anchorage: tagline ‘the fragrance to live in all year long’ anchors the meaning of the image and tells us that wearing the fragrance is not just limited to special occasions - it promotes leisure, confidence, freedom, and the concept of living a luxuous life all year long. Plus the image also connotes the idea of an endless summer

Comparative Analysis:Both advertisements use young women in opposing ways to represent the product – in the first image the woman’s qualities and her lifestyle transfer signified meaning to the perfume, whereas the second image uses the woman and the consumer’s previous knowledge of the Dior brand for the same purpose.

While both advertisements use text to anchor the meaning of the image, the first image relies more heavily on text to link lifestyle to the product. Alternatively, the second image uses only the product name and the consumer’s already established knowledge of the brand to suggest that the product is for younger women who subscribe to the Dior brand identity.In both advertisements the womens’ eyes are the focal point that draw the viewer in and lead the viewer’s eye around the image (both advertisements syntagmatically construct meaning spatially across the page).While the first image uses syntagmatic construction to promote a lifestyle associated with wearing the perfume (i.e. the lifestyle of the beautiful young woman living a luxurious holiday is associated to the feeling of wearing the fragrance), the second image uses syntagmatic construction as a personification device (i.e. the attractive young woman (who is sexy, flirtatious, confident and playful) is Miss Dior and Miss Dior is also the perfume)Lessons and Design InsightsAnchorage is an effective tool to fix the meaning of an image, especially if the viewer cannot rely on previous knowledge of a brand or celebritySocial indicators aid in syntagmatic construction and contribute to creating a more complete narrative – in my design practice, I would adopt the approach in image one over image two as creating a clear scene further informs the meaning of the image.Use signifiers and signifieds to advance the meaning of the image – do not incorporate irrelevant signs as this can confuse the meaning and distract the viewer

Content – A young boy with bruises on his face is pictured behind the text ‘he has his mother’s eyes’. The image is extremely dark, with only the boy’s face and the overlaying text visible against the black surroundings.Semiotic Analysis:• Predominance of the dark background creates a focal point on the image of the youthful boy in

the centre. • The viewer’s eye is drawn immediately to the boy’s black eye. • The predominance of the bruising is a signifier to violence and abuse, a conclusion which is

further unpacked as the focal lines draw the viewer’s gaze across the image via the overlaying text.

• The phrase ‘he has his mother’s eyes’ provides anchorage to the signified abuse, and presents a further symbolic interpretation of the bruising.

• It is an index of his own abuse, and a symbol that of his mother’s. • The text used is a phrase that culturally is used to describe families that share characteristics,

usually in a positive light. • However, the direct interaction between the two elements changes the meaning of both the

text and the image. • The relationship between the text and the image is now symbolic, as two completely different

signifiers have been combined to present a culturally-specific meaning.• The dark, shadow-like background can also be seen as a signifier with many possible

signified elements, such as the boy almost fading unseen into the shadows, or simply symbolising the seriousness of the situation presented.

• At the bottom of the image, there is the tagline ‘stop abuse‘ next to the Amnesty International logo.

• This text is not an anchor, but rather a transfer of meaning to a ‘call for action’ to stop the cycle.

Content – A young boy with bruises on his face is pictured behind the text ‘he has his mother’s eyes’. The image is extremely dark, with only the boy’s face and the overlaying text visible against the black surroundings.Semiotic Analysis:In this campaign advertisement, the predominance of the dark background creates a focal point on the image of the youthful boy in the centre. The viewer’s eye is drawn immediately to the boy’s black eye. The predominance of the bruising is a signifier to violence and abuse, a conclusion which is further unpacked as the focal lines draw the viewer’s gaze across the image via the overlaying text. The phrase ‘he has his mother’s eyes’ provides anchorage to the signified abuse, and presents a further symbolic interpretation of the bruising. It is an index of his own abuse, and a symbol that of his mother’s. The text used is a phrase that culturally is used to describe families that share characteristics, usually in a positive light. However, the direct interaction between the two elements changes the meaning of both the text and the image. The relationship between the text and the image is now symbolic, as two completely different signifiers have been combined to present a culturally-specific meaning.

The dark, shadow-like background can also be seen as a signifier with many possible signified elements, such as the boy almost fading unseen into the shadows, or simply symbolising the seriousness of the situation presented.

At the bottom of the image, there is the tagline ‘stop abuse‘ next to the Amnesty International logo. This text is not an anchor, but rather a transfer of meaning to a ‘call for action’ to stop the cycle.

Visual Elements: •Overall composition •General mood •Colour scheme •Typeface, logo •Type of shot/Angle •Focus/Light •Mis-en-scene •Size and shape of product.

Representation: •Who is represented? •How are they represented?

Audience: •Who is the target audience for this advertisement?

Content of the Ad: •what is depicted in the ad?

Signifier and signified: •What are the different signifiers and signifieds?

Syntagm and paradigm: •How is meaning constructed in the ad?

Denotations and Connotations: •What are the different denotations and connotations?

Icons, Indexes and symbols: •What are the different icons indexes and symbols?

Anchorage and focal point: •What gives the ad anchorage? •What is the focal point of the ad?

Story components: •Realism? •“Storyline”? •Characters •Plot •Settings •Symbols •Use of words •Font design/size •Layout •Subtexts

Needs addressed: •Physiological •Safety Needs •Belongingness & love •Self-esteem •Self-Actualisation

Visual Elements in an Ad General Mood: the overall feeling that is conveyed by the ad (joy, fun or satisfaction).Typeface: the size, shape, and style of the print used in the ad.Logo: the sign, symbol or lettering that stands for the company or the product.Colour Scheme: the colours used in the ad and how they relate to each other.Light: the brightness of the ad, the contrast between light and dark, and the relationship between them.Shapes: the shape of the product, the shapes of the other components of the ad, the relationship between them and what thoughts/feelings are conveyed by them.Overall Composition: the combined effect of the General Mood, Typeface, Logo, Colour Scheme, Light and Shapes in the ad.

Story components of advertisements. CHARACTER(S): the “people” in the ad and the personalities they seem to have.PLOT: the event that is shown in the ad itself and the events that you imagine have occurred before, or will occur after that moment.SETTING: where and when the scene shown in the ad takes place.SYMBOLS: an object that stands for something more than itself.SUB-TEXT: a meaning that goes beyond the surface meaning suggested in the ad.

HierarchyOf Needs

MASLOW’S

Safety Needs

Belongingness & Love Needs

Physiological Needs

Esteem Needs

Self- Actualisation

‘catch the fever’ written over her cleavage immediately brings attention to her breasts making the perfume appear sensual.

The colour red connotates sexiness and provocative-ness which is the colour of her short silk dress and the background and writing over the poster.

Her dress is short and stops at her upper thighs conveying seductiveness

The position of the camera is quite low angle making her appear high in power and drawing more attention to her.

The use of the rule of thirds draws more attention to her face and her chest. The fact that she is looking at you engages with the audience and makes it seem more real than fantasy.

The name of the perfume ‘heat’ – hot, sizzling, glow, steam – all words that have connotations of sexual nature relates to the word ‘heat’ and the slogan ‘catch the fever’

The poster connotates red through the background and the font colour. Red dennotes ‘heat’ and ‘fever’ which is brought into the poster