Vladimir Propp identified eight character types that commonly appear in fairy tales: the hero, helper, villain, false hero, donor, dispatcher, princess, and princess's father. He also proposed that fairy tales follow a sequence of 31 narrative functions, such as absentation, interdiction, violation, and punishment. However, when applying Propp's theories to horror movie trailers, not all the character types or functions were present. While some characters like the hero and villain could be identified, the sequences did not always follow Propp's proposed order and some functions were missing. Propp's work provides useful concepts for analyzing narratives but may not fully translate to other genres like horror films.

1. Vladimir Propp.
He broke up fairy tales in to sections, with these
sections he was able to indentify series of sequences
that will occur in fairytales He found eight types of
characters that appeared in hundred fairy tales that he
called ‘spheres of action’.

2. These are the eight types of
characters.
• The Hero- In every story there is a major character with whom the reader will normally associate most strongly and who is the key
person around which the story is told. Although this person is often a hero in some sense, they may also take another form, such as a
victim or a seeker after some treasure or knowledge. Or maybe they are all of these.
• The Helper - The Hero is supported in his or her quest by a Helper, often a wise old man or magician, who appears at critical moments
to provide support. Thus Obi Wan Kenobi appears to help Luke Skywalker in Star Wars, even after Kenobi's death.The Helper may also
be found in a support role, such as Sherlock Holmes' Dr. Watson or Don Quixote's Sancho Panza. The contrast between the limitations
of this person and the hero may provide a further elucidation of the hero's defining characteristics such as
intelligence, determination, courage, etc.Other helpers appear along the way as friends or random people who act pro-socially to
support the Hero.
• The Villain - The sharpest contrast against the hero is the villain, who struggles directly against the hero. This is the clearly bad-guy
person such as Darth Vader in Star Wars or Professor Moriarty in Sherlock Holmes. The Villain typically is morally bad, highlighting the
goodness of the Hero. The Villain may seek to prevent the Hero from achieving the goal or may quest after the same artefact. The
Villain may also be a tempter, such as when Darth Vader tries to seduce Luke Skywalker over to the 'dark side'.
• The False Hero- A variant on the villain and a potential complication within the plot is the False Hero, who appears to act heroically and
may even be initially mistaken for the real Hero. The False Hero will try to steal the Hero's thunder, grabbing the credit and perhaps
trying to marry the princess instead. The False Hero is thus an usurper, a thief perhaps of the worst kind, who plays on people's good
nature to boldly steal in broad daylight. The False Hero may also gain the respect or other control of the Princess's Father, thus
frustrating the Hero's ability to gain the hand of the Princess.
• The Donor- The Donor is a person who gives the Hero something special, such as a magical weapon or some particular wisdom. They
may typically be Gods, Oracles or Wise Persons, although they may also be as simple as gatekeepers. This role may be combined with
that of a Helper. The Donor may also be capricious and not easily swayed and may not give up their gift without setting the Hero
another task, from a simple riddle to a whole other quest.
• The Dispatcher-An early role in the story is that of the Dispatcher who sends the Hero on the mission. This may be a family member
such as a mother or father. It can also be the Princess's Father, who gives the Hero a set of quests to be completed before he gains the
hand of the Princess. The Dispatcher may also be combined with another role, for example the False Hero who then trails along behind
(perhaps disguised as a Helper).
• The Princess- The Princess may take two forms. First, she may be the object which is deliberately sought by the Hero, perhaps finding
where the Villain has taken her. Secondly, she may be the reward, such that after completing some other mission, he gains her
affections or hand in marriage. The Princess may be seen very little in the story, perhaps appearing only at the end, or may be an
integral character, for example where she accompanies the Hero on his mission, where he may win her heart by the courage and
determination of his actions. The Princess may be wooed by many, in particular by the False Hero. When we see the Princess being won
by the False Hero we may rail and rant in frustration as we see her falling unwittingly into her clutches.
• The Princess's Father- Finally, there is the Princess's Father, who constrains the Princess or who may Dispatch the Hero on his mission
to save the Princess. The Princess's Father is a key figure for the Hero to persuade, as the Father is almost always protective of his
daughter. The Father may also be in competition in some way with the Hero for the Princess's affections and a triangle may form.

3. Using Propps characters to relate to
my own production.
• Hero- Final Girl (Lucy Ray) This is because of her personality and and her role she survives and the one
who helps others in the film.
• Villain- The Presenter( Grace Mckenzie) This is because this is the true killer in this plot.
• Princess- Popular Girl ( Sarah may) This is because she is the pretty and she secondary male
characters. This fits in well with the features of other characters that fit this role.
• Dispatcher-
• False Hero- Presenter (Grace Mckenzie) This is because she is the ‘undercover killer’ she comes
across as hero( friend) to the contestants.
• False Villain- Producer ( The Producer) this is because he is perceived as the villain but in
actual fact his the hero.

4. We where then asked to apply
this theory to two horror trailers.

5. Cabin In the Woods
Cabin In the Wood Trailer:
www.youtube.com/watch?v=eXfc12BqFkc

6. The helper:
The Cabin In The Woods This is because he helps the ‘The
Hero’ multiple times throughput
the movie. And even saves her
from death at one point.
The Dispatcher: In some way this character is the
dispatcher because he is secondary to the villain.
But tells her workers what to do and is operating the
‘set up traps’ for her.
The false The Villain:
The The The Hero :
hero: This is the villain she is the leader
donor : princess: She is the
He is the false behind these evil acts of murder.
This She is hero
hero because This is shown by her power over
character the because she
through out people. And the types of things
is the princess has a drastic
the film we she does to the people, and the
donor because change in
see him as amount of workers she has.
because she is personality
the leader of
he is the who the by the end
the group
wise man ‘False of the film.
, finding ways
of the Hero’ is For example
to escape and
group trying to she is a
saving
and save and strong
people. This
continuo look leader
is until he is
usly after also, she is
killed
helps through the last one
off, highlighti
‘The out the standing at
ng his
Hero’ out film. the end.
immortality .
.

7. Functions
After the initial situation is depicted, the tale takes the following sequence of 31 functions:[3]
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.
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').
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.
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.
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.
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.
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).
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.
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.
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.
DEPARTURE: Hero leaves home;

8. FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc., preparing the way for his/her receiving
magical agent or helper (donor);
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);
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);
GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
STRUGGLE: Hero and villain join in direct combat;
BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
VICTORY: Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
LIQUIDATION: Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person
revived, captive freed);
RETURN: Hero returns;
PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
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);
UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
UNFOUNDED CLAIMS: False hero presents unfounded claims;
DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
SOLUTION: Task is resolved;
RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
EXPOSURE: False hero or villain is exposed;
TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc.);
PUNISHMENT: Villain is punished;
WEDDING: Hero marries and ascends the throne (is rewarded/promoted).
Reference: http://en.wikipedia.org/wiki/Vladimir_Propp

9. Evaluation:
Over all I think that Vladimir Propp Theory on the eight
character types can be seen in many horror films. And has
similar for to stock characters. I feel that his thirty one
functions are correct in the aspects of fairy tales but all the
thirty one sequences dont appear in horror movies some do
but, not always in that order and some tend to be missing.