Introduction Film like all other forms of art employs the usage of different elements of narrative to tell a particular story. No two film plots are exactly the same and each director has his/her own way of ensuring that each piece of work he/she is involved in has unique features that link the final product to him/her. This essay seeks to analyze the narrative structure, cinematography and the production elements of the film Die Hard, directed by Mark Tiernan . To this end, a well detailed analysis of the structure of the film shall be made while citing adequate examples of from the film. Story telling and acting The action film Die Hard follows the three act narrative structure. This basically means that it has a setup that introduces the viewer to a given element of conflict before a resolution is arrived at. In this particular film, McClane is on a mission to reconcile with his wife when he finds himself in what appears like a terrorist activity. This is the setup part of the narrative where we are introduced to the element of contention that will result in conflict much later in the film. As the scenes unfold, it becomes clear that this is actually a robbery targeting $640million bonds held at the Nakatomi vault. Part of the setup aspect is the revelation that Gruber and his team of crooks have laid explosives around the building and they intend to use them to secure their exit. This helps the view understand why the police and McClane have to be patient in dealing with the criminals. The conflict aspect of the narrative comes in when McClane has to constantly battle the Gruber and his men, while at the same time find a way to get the police to work alongside him. The non-cooperation from his officer Powell is also a challenge that McClane has to contend with. We see Powell hastily trying to gain access into the building and it takes the speedy intervention of McClane to get him to appreciate the weight of the situation. The resolution gradually kicks in when McClane and the police manage to subdue the Gruber and his gang. After outwitting the criminals that are after him by pulling a number of stunts, sometimes ducking bullets by fractions of seconds, McClane secures the safety of the hostages and reconciles with his wife as with earlier plans. This brings the film to a settled conclusion whereby the viewers are not able to clearly understand why some characters in the film had to carry themselves in particular ways. The film appears to conform to the model of the classical Hollywood cinema where it has two distinct lines of narrative development, with one element leading us to follow McClane as he finds himself on an impromptu mission to rescue hostages while having to deal with a police team that does not believe him, while at the same time avoiding any serious damage to the building. The other line follows the romantic relationship between McClane and his wife, and this develops in its own tempo but parallel to the main goal of the story. The characters in the narrative generally fall in at least one of the seven spheres of action that have been fronted by the scholar Vladimir Propp (Thury and Devinney 520-521). These seven categories are hero, villain, helper, donor, princess, dispatcher and false hero (Thury and Devinney, 2005). McClane is the accepted hero of the film owing to the fact that he manages to t