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During the last half century, an astounding phenomenon has occurred: the world, particularly the Western world, has developed a universal language. This is the language of films. Since the 20s and 30s, French, Italian, German, British and American films have been mainstays of international cultural and artistic expression. American movies, in particular, have been enormously successful. At present, films are the second leading export of the United States. European magazines, TV and newspapers carry stories about the latest Hollywood releases in addition to the all-important trivia surrounding the lives of the various "stars". Cultural differences begin to disappear in the melting pot of the universal language of film narratives.

It is the enormous international popularity of American films that have lead so many to conclude that this must be the result of the dread scourge of the late 20th century: cultural imperialism. Guilt by virtue of success. This kind of thinking is shallow at best. The narrative structure of popular art forms has not changed essentially since the days of Aristotle. It is by virtue of adherence to a formulaic set of artistic criteria and the judicious use of conventionally defined narrative elements that all films, American and others, achieve their success. Good popular films are art forms like odes, sonnets, or fugues: they have specific formal requirements. Their artistic merit -- and their popular success --is a result of meeting these formal requirements.

Listed below are the elements of drama introduced by Aristotle.

ARISTOTLE'S SIX ELEMENTS of drama are Spectacle, Character, Fable (Plot), Diction, Melody, and Thought. These elements (slightly modified and re-interpreted for contemporary audiences) remain essential to modern films. Aristotle claims that, contrary to what one might expect, Plot or "the form of action" is the most important element. This is because, in Aristotle's view, the purpose of life "is a certain kind of activity" and drama ought to depict certain kinds of activity that we may learn the results of these forms of activities. Aristotle would reject the contemporary view (supported by insidious propaganda that acting is a high art form and by public fascination with the lives of actors) that the depiction of Character is central or most important. His argument: "Character gives us qualities, but it is in our actions -- what we do -- that we are happy or the reverse" (Poetics, 1450a18). "In a play accordingly they do not act in order to portray the Characters; they include the Characters for the sake of the action" (Poetics, 1461a15-20). He concludes that Character comes second (1450b1). It is important, however, to note that Character does interplay with the other elements, and (especially in films) it introduces morality. As Aristotle says, "...character is what makes us ascribe certain moral qualities to the agents" (1450a4). Third is Thought, and this is not what the character says to reveal elements of the character, but what a character may say regarding important intellectual themes -- "all they say when proving or disproving some particular point, or enunciating some universal proposition." [In contemporary films it is sometimes asserted (with justification in some instances) that the director of the film actually controls "what is said or asserted," not through the dialogue, over which he has limited control, but through subliminal suggestion through the language of images alone. I reject, in part, this theory. See my Seven Mistakes.] Aristotle relegates the other elements to lesser importance in drama. A partial list of these elements, with examples, as they apply to contemporary films:

1. Plot: The Searchers (Horrible event befalls man, man chooses revenge, but finally chooses redemption and forgiveness).

Note: It is not always always easy to describe how plot relates to theme and what I call story. It has been argued, correctly, following Aristotle, that there are only few basic plots. If we state the plot of The Searchers as "man chooses revenge against INDIANS," we have a different, more specific, understanding of the plot. Such a specific understanding can, of course, not be considered a basic plot. A basic plot and the story which enacts it introduces THEMES. In this case, the POSSIBILITY of forgiveness. These points aide, it remains as true today as in Aristotle's time -- and Hollywood writers generally accept it this -- that a good story (film) MUST have specific "plot points," or moments when the character makes a moral choice. By adhering to this rule, Hollywood writers can be said to accept Aristotle's idea that plot, rather than character, is central. Further complexities of this issue go beyond the scope of my comments here. See my Seven Mistakes and FAQs for more information.

2. Character: Lord of the Rings (Sam, a humble servant, is caught up in a titanic struggle).

3. Thought: "Life is a box of chocolates" (Forrest Gump).

4. Diction: Night of the Iguana, any Shakespeare.

5. Melody: Can be unnoticed (most films), or central to the impact of the Film, e.g., Theme from Star Wars.

6. Spectacle: Visual Impact, feeling of participating in large, grand events. Lord of the Rings, Ben Hur, Spartacus (Spartacus is an excellent example of a film in which all six elements are of high caliber.)