In the films of Howard Hawks a systematic series of oppositions can be seen very near the surface, in the contrast between the adventure dramas and the crazy comedies. If we take the adventure dramas alone it would seem that Hawks's work is flaccid, lacking in dynamism; it is only when we consider the crazy comedies that it becomes rich, begins to ferment: alongside every dramatic hero we are aware of a phantom, stripped of mastery, humiliated, in­ verted. With other directors, the system of oppositions is much more complex: instead of there being two broad strata of films there are a whole series of shifting variations. In these cases, we need to analyse the roles of the protagonists themselves, rather than simply the worlds in which they operate. The protagonists of fairy-tales or myths, as Levi-Strauss has pointed out, can be dis­ solved into bundles of differential elements, pairs of opposites. Thus the difference between the prince and the goose-girl can be reduced to two antinomic pairs: one natural, male versus female, and the other cultural, high versus low. We can proceed with the same kind of operation in the study of films, though, as we shall see, we shall find them more complex than fairy-tales.