Classicism asserts that all other levels of film form (editing, sound, cinematography, lighting, costume etc.) are subservient to the narrative as in, they all work in the service of maximising efficient and coherent storytelling – is this applicable to The Bourne Ultimatum? How would you go about apply the narrative theories of Propp, Todorov, and LeviStrauss to an analysis of The Bourne Ultimatum?
