Exploring the Genre Formula of Films, Books and Plays

necessitates various transitions and disequilibria for the characters and worlds involved.

Literal imagery in films involves a combination of all elements, including a mixture of the two. There are differences in how collaborations between the two openings are interpreted, with modern fairytales tackling realistic issues. These issues include the transition from childhood to adulthood and the feeling of loneliness and isolation during teenage life. In 'Labyrinth,' Sarah is the heroine who is obsessed with classic stories, often acting them out in her bedroom or local park. She is shown running through a troll-like bridge in a long flowing dress with styled hair to resemble an innocent maiden in a classical fairytale. However, the spell is broken when the clock strikes and Sarah turns to her dog, Merlin, exclaiming over the time. The scene ends with Sarah hitching up her dress to reveal a pair of jeans while running ungracefully with Merlin.

The film incorporates humour through a parody of the classic tale 'Cinderella' and the story of the clock striking twelve, which introduces a modern fairytale. These events will be repeated throughout the film, but the humour should not be seen as satirical as they serve a purpose. The film appeals to all age groups as everyone can relate to the pressures and struggles of adolescence. The object of both films' quests is material, but the root of problems is personal, stemming from confusion and isolation.

Both characters' initial struggles reveal their eagerness to avoid the pressures of adulthood by immersing themselves in books and fantasies. Rather than seeking to "grow up," their goal is to find a balance between childhood and adulthood. The complexity

of this resolution is compounded by irresponsible behavior fueled by a mixture of parents, responsibility, obligation, hormones, school, and dreams. In "The Never Ending Story," the father figure advises Bastion to stop daydreaming and focus on reality - a theme that sets the stage for an exciting adventure full of color and excitement. Although these characters appear minor, they are crucial to setting the mood and building anticipation. They play the dispatchers' role in Propp's character function analysis, inadvertently starting the physical journey with their ignorant and realistic perspectives.The hero's final acceptance of both worlds necessitates that the narrative structure remains intact, which is why characters who fail to expand their minds beyond the confines of everyday life are deemed ignorant.

The characters in both films are the first to make their personal issues into a reality by tempting fate. This is exemplified when Sarah becomes intolerant of her family and calls on the Goblin King to take away her baby stepbrother, Toby, making him the main subject of the quest. These characters are members of the hero's family, with "your Majesties" becoming "Mom and Dad," highlighting the use of fairytale formula. Additionally, Sarah's stepmother compares herself to a wicked stepmother from one of her stories, revealing yet another parody.

At the start of the film, human characters are shown followed by lackluster scenes that convey the contrast between their worlds and create a tense atmosphere, building up to a scene filled with the vigor and color of the opening credits. This tension is carried on through confrontational behavior and outbursts from both characters. Bastion, the protagonist of 'The Never Ending Story,' opposes his father's

comment that he needs to stop daydreaming and get back to reality, which is a typical remark from an ignorant figure. This unexpected opposition builds suspense for the arrival of magic, mystery, and excitement throughout the film. Such contrasts are used as a way to develop the plot and often contribute to its resolution. Expect to see more of these oppositions throughout the movie, with their symbolic imagery and meaning, as they continue to surface regularly.

Despite her importance, Sarah often puts her own future in danger. The film 'Labyrinth' adds to this ambiguity with its tagline of "where anything is possible and nothing is what it seems." Nevertheless, it appears that Sarah is living out her own adventure or revisiting a classic tale in order to recover a physical object. During a mid-shot of Sarah running through a park, she recites a stanza while looking straight into the camera. While the reason for this behavior is unknown, her commanding presence suggests that it will have significance later on. Additionally, Sarah's failure to recall the final line of the stanza is another detail that she acknowledges and may prove important in the future.

As the film progresses, we become familiar with the connection between the enchanting themes in the poem and the protagonist's journey. This demonstrates how seemingly insignificant actions or verbal expressions can have a profound effect on the story's outcome or future. These elements elevate the audience to an exceptional position of knowledge, where we are informed of a critical fact that endangers both realms. We feel significant, injecting more suspense and empathy for the character. Additionally, I perceive recurring visuals from the beginning scenes,

which include the physical antagonist mentioned earlier.

The antagonist in 'The Never Ending Story' is portrayed as boisterous, billowing clouds, which is reminiscent of the villain in the opening sequence. This connection is further highlighted by the dispatcher's remark in the film. 'The Nothing,' an immense mass of swirling clouds, is also seen in the credits, confirming the fantastical nature of the movie. Similarly, in 'Labyrinth,' the villain is represented by a digitally aged image of a white barn owl that circles around during the opening credits.

The audience may be unaware that the featured characters are future rivals in the story, but their appearance is menacing and holds great significance. The technique used in both opening sequences combines the innocence of a child's film and the complexity of a modern fairytale. This direct approach creates a sense of excitement for the hero to enter into battle. The audience is left anticipating the revealing of the true form of the nemesis. The opening inclusion of both villains is a teaser of their power and form, building anticipation for the owl to transform into the towering silhouette of The Goblin King and 'The Nothing' to be exposed as the absence of human belief in fantasy.

The audience is braced to confront immense entities by being presented with a watered-down version, which makes them anticipate a shocking revelation. The opening sequences of the film introduce the story with images and narrative structures that recur throughout the film as a thematic motif. A white barn owl makes its appearance in the first scene showing Sarah wearing her maiden costume. Both the villains in the story are

portrayed in their diluted forms, each with their own unique effect. The owl follows and keeps an eye on Sarah, showing up on clocks and household objects and suggesting that there may be an intimate relationship between the two characters.

Anticipation for the Goblin King's human manifestation is evident from the opening frame, as the relationship between him and the heroine develops alongside his appearance. Sarah's emotional speech about the Goblin King's love for her is reflected in the subtle thunder undertones and contrasting blue lightning and low key lighting. The storm intensifies as his entrance approaches, with a new burst of ultra blue light and darkness accentuated by his black cloak swishing around him.

The antagonist in question embodies the classic traits of a fairytale villain, accentuated by extravagant cinematic effects. This includes a wide-pan shot from a slightly upward angle to amplify the character's grandiose presence, and a contrasting jangle of bells to complement the showering glitter, both of which convey his magical existence and elevated standing. I've spent considerable time analyzing the ironic and narrative structure of both works to emphasize the symbolism of magical and realistic elements. The genre in question adheres to a rigid formula where hints of the rest of the film are embedded in the events' structure rather than mood, atmosphere, lighting or camera angles. Pathetic fallacy in 'Labyrinth' doesn't symbolize the transition between magical and realistic worlds; it is the transition! As lightning strikes, the Goblin king makes his entrance and takes our protagonist into a world of fantasy and strife. Lighting techniques don't convey any deeper meanings or suggestions; instead, they feature recurring themes and images

that affect the resolution. Nevertheless, certain aspects of film technique apply to both films' opening sequences, primarily color usage.

The spectrum's distribution is crucial for cinematic impact, as it serves as the primary indicator of the transition between worlds. The opening credits feature recurring images and employ suitable, fantastical hues. The shift back to reality uses a muted palette, emphasizing the perspective of the main characters. This limited palette exaggerates natural lighting. Pathetic fallacy, a classic fairytale technique, is utilized to convey the emotions of the central characters in an obvious and visually stimulating manner. This technique demonstrates that the film's world is manipulated and closely linked to the characters. What appears on screen is seen through their eyes.

As Sarah stands at the gates of the labyrinth world, dawn breaks and illuminates the scene with shades of dusty oranges, ambers and glittering shimmers, revealing a new palette. The rising sun signifies to Sarah that she has entered a strange land. Through the use of color, Sarah's thoughts and emotions are conveyed onscreen as unpredictable and symbolically representative. The audience should anticipate such artistic expression via color manipulation, reflecting the hero's perspective.

The concept is expressed in "The Never Ending Story" through the movie's theme song, which contains various linked themes such as "beyond the clouds" and "upon the rainbow." It is used to introduce the protagonist's point of view.

The perception of the magical realm in Fantasia, also referred to as the "world of human fantasy," is represented through a magnificent array of colors that swirl and fly, encompassing every shade of the rainbow. Bastion's idealization of fantasy is reflected in this portrayal. Akin to this representation,

technicolor film was utilized in 'The Wizard of Oz' to convey a character's perspective - Kansas was depicted in grey while the fantastical land of Oz was filmed using technicolor. Color plays an essential role in differentiating between reality and our dreamscape; modern fairytales are no exception despite their innocent origins. Fairytales use color as a symbol for emotional or material objects coveted by humans worldwide, highlighting their significance.

The quest in the movie 'Labyrinth' is represented by the protagonist's clothing - a baby-grow with bands of red and white. This color scheme symbolizes desire and innocence, and aligns with the themes of goblins and mazes. The opening frames of the film establish this color coding, suggesting to viewers the presence of potential symbolism throughout the sequence of events. Ultimately, the opening credits, scenes, and sequences of both films adhere to a formulaic structure in pursuit of a shared goal.

The main goal of these films is to bring fairytales into the modern era and focus on the transitions between fantasy and reality in terms of characters, perceptions, plots, and morals. Once this foundation is established and the audience is familiar with the genre, the films can then delve into the characters' struggles in the physical quest. The key to creating a modern fairytale is the balance between adulthood and childhood realities. Both films have a complex resolution, but the age difference of the heroes affects the message of the film. The opening sequences prepare the audience for what's to come; Sarah finds equilibrium by embracing adulthood while retaining her adventurous spirit, as recognized by Propp's theory.

While Sarah is entering the next stage of her life as

a woman, facing her fears with courage and self-growth, Bastion is on the cusp of adolescence. As he seeks revenge against school bullies with magical support, Bastion also yearns to experience the joys of childhood that have eluded him - soaring through the sky and reveling in youthful delights. Thus, while Bastion's journey is about experiencing the highs of youth, Sarah's is about finding the courage to confront her troubles head-on.

At the beginning of 'Labyrinth' and 'The Never Ending Story,' there are various images, including water, mirror images, crystal balls, and illusions. In 'The Never Ending Story,' the clouds seem to fall away as if seen from above. These images, along with the use of a specific color palette, create a sense of newness, unpredictability, and establish a particular mood that is different from the colorful world of Fantasia. Every element in these films is significant, from each frame to every syllable spoken and beam of light used. Watching these films is similar to reading a book, with our subconscious absorbing every hidden message, preparing us for the ultimate revelation at the end.