Who was Vladimir Propp? Find out who he was and apply his theory to music video you have seen (Research)

The twentieth century Russian Folklorist and Formalist, Vladimir Propp identified the analysis that reduced Fairy Tales to a series performed by the dramatis personae in each story. Propp argued that every Fairy Tales uses this concept by constructing a certain plot element, which he called ‘Functions’ and these elements were consistently reiterated in a uniform sequence. Propp’s theorem was published in 1928, ‘Morphology of the Folk Tale’, where he wrote about the thirty-one generic functions (below), which proposed the plot components which were used in all Fairy Tales conventions.

These are thirty- one generic functions

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., comits 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. UNRECOGNISED ARRIVAL: Hero unrecognised, 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 recognised (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 analyses the narratives to link with the aspects in Fairy Tales, which can be applied to music video, too in terms of their structure and form. The form of a typical narrative involves an individual called the protagonist- a character who is presented as some kind of ‘hero’ and this protagonist is brought to face a conflict that disturbs the equilibrium of life.

The conflict is created by another character (or a system) called the antagonist presented as being on the side of wrong. For example as a villain, this usually does some form of ‘helper’ object that aids the protagonist. The typical narrative, events are related in a sequence using a structure that seems convincingly to move along a course of cause and effect; these linked events form a natural seeming of ‘ beginning-middle-end’ to the story and move quite naturally into such aspects as the narrative climax, itself followed by satisfying resolution.

This engages and compells the audience by this form and structure, which is easy for us (the audience) to relate to the hero figure, which fascinates the audience by the tension created by wondering ‘what will happen next’; and the audience want to know ‘where it will all lead’.

Propp’s theorem applies to these music video.

In the video, ‘Smile’- Lily Allen used the generic function of ‘Villainy or Lack’. Lily was originally the protagonist who was treated badly by her ex-boyfriend (antagonist) who was being horrible to Lily. But now, Lily seeked revenge on him by planned street attack on him, getting his flat ransacked and Lily putting laxatives in his tea. This showned Lily taking the role of an antagonist an her ex-boyfriend rather being the protagonist.

In the video, ‘Hot ‘n Cold’- Katy Perry used the generic function of ‘Wedding’ which was Katy getting married to her fiancé but is unsure it will work as one minute he is up and the next he is down.

In the video, ‘Family Portrait’-Pink used the generic function of ‘Absentation’, where Pink is having a problem with accepting her parents breaking up. Pink wants her parents to get back together and be a family unit for her and her elder brother.