Research
Here is a summary of the Master’s Thesis in Communication Design at Politecnico di Milano titled Designing Fiction: The Role of Graphic Props in Cinematic Narratives.
Graphic design for filmmaking
In more recent years, a new role started to emerge and be a presence in the art departments, the team responsible for the visual aspects of production: graphic designers. Before a more official recognition of the role, tasks like these would have been divided between members of the art department, usually falling on an assistant art director or on the set designer. However, as productions have become bigger and more demanding, the role of the graphic designer has evolved from a relatively new addition to the industry into an essential part of a dedicated graphics department. More broadly, visual design inserted itself in cinema as either a scenographic element—commonly referred to as graphic props.
Props and set
Props are physical objects used by actors or present on set. Their primary function is to maintain the illusion of the narrative unfolding naturally. They contribute significantly to shaping the setting, revealing characters, impeding or enabling actions, ultimately influencing the plot. The German etymology behind the term for a film prop specifically—Requisit—refers to something essential to and required by the film, something it cannot function without, just like the actors and the set.
The set is also an important part of the mise-en-scène, meaning that every component of the set becomes inevitably significant and invites the audience to an interpretation. While not every set will communicate something crucial about the narrative, they will not be neutral in terms of style, and the audience may perceive it differently, depending on their intertextual associations and the retrospective narrative.
What is a graphic prop?
A graphic prop can be regarded as a communicative artefact that, within the cinematic context, functions as a prop, designed to enhance the storytelling process. Originating from a communication design approach, graphic props typically contain textual and visual elements that need to be organized to convey a certain message, either to sustain the illusion or to unfold the events of the story. Their form is shaped by the diegetic elements of the story, like genre, time and place, characters, and events.
it is not intended to be a clear-cut definition, but rather an attempt to open a discussion on the matter.
While other elements—such as character and setting functions—also contribute to realism and verisimilitude, what distinguishes props in this category is their necessity for the action to occur.
A prop that introduces new, standalone information not conveyed elsewhere in the scene. It may enrich the story world, hint at subplots, or embed symbolic depth. These are independent configurations that reward active viewer interpretation.
A prop that reinforces or clarifies information conveyed in other filmic channels (visual, spoken, musical). It may function redundantly (repeating info) or complementarily (clarifying it), but it does not introduce new narrative content independently.
A prop physically manipulated by characters in ordinary ways that contribute to realism or naturalism. It does not advance the plot or theme but grounds the scene in believable action.
A prop that situates the story in space, time, or atmosphere. It includes spatial anchors (e.g. era, geography) as well as ambient elements that contribute to mood and realism.
A prop that reflects a character’s personality, values, or development. It acts as an index of character traits or evolution, often through indirect or visual means.
A prop that conveys abstract, symbolic, or metaphorical meaning that transcends its ordinary identity. Its significance often arises through interpretation and contributes to broader narrative themes.
A prop that significantly impacts the progression of the plot by enabling or triggering key narrative events — regardless of whether it performs its regular function or attracts attention.
To see how these functions are applied in practice, visit the archive.
Considerations
The functions presented offer a structured yet open framework for analyzing the narrative roles of graphic props. While the functions have been introduced individually, they are not intended to operate in isolation or to stick to specific objects. Instead, props often perform multiple, overlapping roles, and their meaning is shaped by their material gestures and their integration in context.
This framework encourages dynamic interpretation, to see graphic props as active narrative agents. As such, it should not be considered prescriptive, but rather a tool for generating questions—about how design interacts with storytelling, how visuals convey plot or theme, and how narrative meaning emerges from even the most peripheral elements on the screen.
Further Reading
Atkins, A. (2020). Fake love letters, forged telegrams, and prison escape maps. Phaidon Press. Chatman, S. (1980). Story and discourse: Narrative structure in fiction and film. Cornell University Press.
Gorfinkel, E., & Rhodes, J. D. (2025). The prop. Fordham University Press.
Ryan, M.-L., & Weisheng, T. (2024). Object-oriented narratology. University of Nebraska Press.
Seitz, M. Z. (Director). (2009, March 30). The substance of style (part 4) [Video recording]. Internet Archive. https://archive.org/details/substance-of-style/wes_anderson_4.mp4