the teachings of the second half, this is definitely what I was expecting most of all. In Basic scriptwriting we will taught how to draft a screenplay for television and cinema, both as regards the technical aspect with regard to the content and style of narration. The teacher is the same Design for the Moving Image, and get it back in the chair is a pleasure for pleasure because his work exudes from every word. For this module I are required coursework two: one is the adaptation of The Swim Team, a tale of five pages of Miranda July, while the other is the creation of an original treatment, or to a detailed synopsis for a short period of fifteen minutes.
As Frank McCourt said in his Hey, Teacher! , when someone writes in America even the telephone directory is only a matter of time before someone else asks him when did he make a movie. The Swim Team has been adjusted just last year in a short film.
Today's lesson, as well as introduce the teaching itself, was focused on identifying the structure and the type of a story. As we all know already, a story follows well-defined structures:
- Expectation (Expected): characters and environments are introduced
- Development (D): the characters decide to do something
- Complications (Complication): an obstacle complicates the mission
- Climax: the characters face the obstacle at a key moment
- Resolution (Resolution): an order is established or re-established
What is less intuitive but is that when you write a good story should always take into account the presence of this structure to respect and use it. A viewer needs the characters to be introduced before they are put into action, but a narrator may also decide to advance action on presentations to make the story more exciting.
An example of a film that upsets the narrative structure is standard Pulp Fiction, where the beginning is the end. In fact, even in this circular structure characters are introduced to the audience before inserting them in the action itself, just that Tarantino decided to start from a point a little 'different. The same can be said for Memento by Christopher Nolan.
With regard to the types, the matter is very simple: there are only seven stories, the usual seven stories that are told all the time the dawn of time. To put it this way is a bit 'depressing, so let's say there are seven archetypes, like the seven musical notes, are only a limited number of starting points to build an infinite number of different stories.
- Achilles
The story revolves around an almost invincible hero, but has a fatal weakness. Characters that reflect this pattern are, for example, Dracula and Superman.
- Cinderella
The main character tries desperately to achieve his dream, most likely to improve its social and economic status. Examples of this archetype are The Pursuit of Happyness and every damn movie Rocky .
- The Chase
The main characters must complete a specific objective. It differs dall'archetipo Cinderella of the fact that the characters do not necessarily need to improve themselves or their status in order to achieve the goal. Obvious examples for this pattern are sacrosanct every fantasy film, do vobis.
- Faust
The main character makes a choice that led him to obtain immediate benefits, but serious problems in the long term. An example of this archetype is The Godfather.
- Orpheus
The main character has suffered a great loss, and seeks to bridge this gap is equivalent to looking for something or seeking revenge. An easy example is Kill Bill .
- Romeo and Juliet
The story revolves around the impossible love of the two main characters, although there is not necessarily a bitter end. An example of this archetype is Titanic, but also Brokeback Mountain .
- Tristan
The main character is attracted to two different people, but is forced to choose one. Two Italian examples for this pattern are The Last Kiss and Renato Zero . Even though my teacher is not entirely convinced, I like to think that under this type can be made to include also those stories where the protagonist is not so much attracted by two people, as two different ideals. I think such a Bertolucci's Novecento, where Jerard Depardieu plays a peasant Emiliano undecided whether to remain loyal to his friend or master adhere completely to the communist ideals.
These are the seven archetypes, others do not exist. Every story adheres to one of these types and reinvented, often in conjunction with: Star Wars example is a combination of "Cinderella" with "The Chase" and Scarface of "Cinderella" with the 'Achilles'. One of my classmate has found a film that includes all seven archetypes in Dragon Heart . Mine has occurred Lost .
As Frank McCourt said in his Hey, Teacher! , when someone writes in America even the telephone directory is only a matter of time before someone else asks him when did he make a movie. The Swim Team has been adjusted just last year in a short film.
Today's lesson, as well as introduce the teaching itself, was focused on identifying the structure and the type of a story. As we all know already, a story follows well-defined structures:
- Expectation (Expected): characters and environments are introduced
- Development (D): the characters decide to do something
- Complications (Complication): an obstacle complicates the mission
- Climax: the characters face the obstacle at a key moment
- Resolution (Resolution): an order is established or re-established
What is less intuitive but is that when you write a good story should always take into account the presence of this structure to respect and use it. A viewer needs the characters to be introduced before they are put into action, but a narrator may also decide to advance action on presentations to make the story more exciting.
An example of a film that upsets the narrative structure is standard Pulp Fiction, where the beginning is the end. In fact, even in this circular structure characters are introduced to the audience before inserting them in the action itself, just that Tarantino decided to start from a point a little 'different. The same can be said for Memento by Christopher Nolan.
With regard to the types, the matter is very simple: there are only seven stories, the usual seven stories that are told all the time the dawn of time. To put it this way is a bit 'depressing, so let's say there are seven archetypes, like the seven musical notes, are only a limited number of starting points to build an infinite number of different stories.
- Achilles
The story revolves around an almost invincible hero, but has a fatal weakness. Characters that reflect this pattern are, for example, Dracula and Superman.
- Cinderella
The main character tries desperately to achieve his dream, most likely to improve its social and economic status. Examples of this archetype are The Pursuit of Happyness and every damn movie Rocky .
- The Chase
The main characters must complete a specific objective. It differs dall'archetipo Cinderella of the fact that the characters do not necessarily need to improve themselves or their status in order to achieve the goal. Obvious examples for this pattern are sacrosanct every fantasy film, do vobis.
- Faust
The main character makes a choice that led him to obtain immediate benefits, but serious problems in the long term. An example of this archetype is The Godfather.
- Orpheus
The main character has suffered a great loss, and seeks to bridge this gap is equivalent to looking for something or seeking revenge. An easy example is Kill Bill .
- Romeo and Juliet
The story revolves around the impossible love of the two main characters, although there is not necessarily a bitter end. An example of this archetype is Titanic, but also Brokeback Mountain .
- Tristan
The main character is attracted to two different people, but is forced to choose one. Two Italian examples for this pattern are The Last Kiss and Renato Zero . Even though my teacher is not entirely convinced, I like to think that under this type can be made to include also those stories where the protagonist is not so much attracted by two people, as two different ideals. I think such a Bertolucci's Novecento, where Jerard Depardieu plays a peasant Emiliano undecided whether to remain loyal to his friend or master adhere completely to the communist ideals.
These are the seven archetypes, others do not exist. Every story adheres to one of these types and reinvented, often in conjunction with: Star Wars example is a combination of "Cinderella" with "The Chase" and Scarface of "Cinderella" with the 'Achilles'. One of my classmate has found a film that includes all seven archetypes in Dragon Heart . Mine has occurred Lost .
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