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Abstract

This essay aims at focusing on the relatively recent theory of the relationship between cinema and electronic game - the latest field of application of Vladimir Propp's theories - through an aesthetic and narrative point of view and by studying a representative film. The main subject of this analysis is the narrative structure of the film The Running Man and its video-ludic patterns which represent the climax of a development beginning with the birth of the Myth, that is to say the first kind of story telling, the closet one to the structures of imagination and unconscious. Finally the essay dwells, particularly, on the contents and the themes developed by this film, trying to put to good use the inputs provided by Umberto Eco in his seminal Il superuomo di massa