While analysing Propp's character types in its relation to neo-noir films the conclusion found in my research suggested that Propp's work was formed from fantasy stories and myths. It occurred to me that some of my texts - The Dark Knight, Sin City and Fight Club - are film adaptations from novels or comic books involving exaggerated characters with seemingly superhuman abilities who are based in fiction. This may be why these films are more applicable to Propp's research on fictional stories. In relation to my key frames, they have adapted the style of Sin City, whilst my narrative has been influenced by one of its stories: The Yellow Bastard. As shown in Key Frame(s) 1 and 4 we are introduced to our hero. This is shown through the cinematography following his perspective. Throughout the key frames he makes a transformation from the false hero, aiding the villain in Key Frame 11, and defeating and aiding him in Key Frame 20.
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In Key Frame 9 we are introduced to the villain and we actually see his face in Frame 12. The narrative also punishes the villain in Frame 19. In Frame 12 we are introduced to the helper and the heroes final transformation is complete in Frame 20 (Above this paragraph) when he puts someone else's life ahead of his own.
Our helper may also be considered the princess as it seems the hero is saving her in Frame 20 as well as the donor and dispatcher as she sets the hero on a path for redemption in Frame 14. Also, in terms of mise-en-scene I have adapted the style of costume from Se7en and editing from Sin City. I have used the black and white tones to set up the idea that it is a neo-noir film. I have also highlighted certain colours in order to create meaning. For example, the blue colours that the hero wears from Frame 16 represent his transformation from a broody, dangerous individual with the dark and red colours in Key Frame 4, to a trustworthy hero. I have also attempted to create a similar costume to what Mills from Se7en wears as he had a similar transformation to what my hero goes through. From this it may suggest I have been effective in reflecting Propp's character types within my creative artefact, closely defining these characters in to their character archetypes. However, with a couple of them fitting in to multiple character types, this reinforces my ideas that Goffman's character thoery is more appropriate than Propp's character types. The characters may be considered too complex to fit in to just one character type.
Goffman's theory was formed mostly from research on media texts. It may be easier to apply to neo-noir films such as Se7en. Se7en is a neo-noir film which involves aspects of a thriller as the characters are too complex and realistic to be simplified down in to character types like Propp's. In relation to my key frames, the cinematography follows what could be considered as my protagonist throughout as the narrative is told from his perspective, and as the audience we understand parts of the characters motivations that the other characters are unaware of for example, Frames 2 and 8.
However, since it is a neo-noir film, most of it is still left to us as a mystery to reinforce this. Because of this, the protagonist may also be viewed as the bit player as we have little knowledge of his back-story, shown in Frames 5. 
We have no knowledge of what his relationship with the character Sam show in Frame 9, or what happened to his wife, or why he left his job. The characters Sam and Sarah may be seen as the deuteragonists as they are both secondary characters to John, the protagonist, They are seen to help John move the narrative forward, but it is not told from their perspective. We do not know their motivations and we do not know their back-stories. The fact that we do not know their back-stories may also make them bit players, reinforcing a neo-noir convention of mystery in neo-noir films such as Se7en and Sin City.
Sarah may be considered the fool shown in Frame 13 through the dialogue as she has flirtatious banter with the protagonist, but at the same time through this banter she makes him question his allegiance to Sam. Also, both Sam and Sarah are introduced in to the narrative as fully developed characters just like characters such as Miho in Sin City and Detective Somerset in Se7en reinforcing another neo-noir convention. From this it may suggest I have applied Goffman's character types effectively by creating complicated characters who can fit in to multiple character types like Se7en. This has been reinforced through the use of narrative, following one character's story; the cinematography, focusing around the protagonist's perspective; and the dialogue, reinforcing what kind of character they are.In conclusion, I believe I have managed to apply both theories effectively to my creative artefact. To closely define my characters into Propp's character types, I have used the cinematography to follow the perspective of the hero and mise-en-scene - specifically, costume - to make Sam look villainous. Finally to make Sarah sexualised - like most femme fetales - I used numerous close-ups. Her role in the narrative also enables her to be considered the 'princess' from Propp's character types. Finally, I have used editing to reinforce the style of neo-noir films and I have used specific colours to reinforce the archetype each character fits in to. In order for my characters to be applicable to Goffman's character theory, I have used cinematography to follow the protagonist's perspective. To represent who the deuteragonists are, I have used dialogue to present Sarah as the fool and the narrative suggests that all three of my characters could be considered bit players as their back-stories and most motivations are kept a mystery from the audience to reinforce the convention of mystery in neo-noir films like Se7en.
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