intro%20to%20film - Intro to Film-A story is the...

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Intro to Film-A story is the character’s journey-Plot is a series of events deliberately arranged so as to reveal their dramatic, thematic, and emotional significance; how you tell a story.-Three-Act StructureAct 1: Inciting incident, plot point 1 at the end of the actAct 2: plot point 2 at the end of the actAct 3: resolution-The Classical Structure: exposition, rising action, climax, resolution-The Classical Paradigm-Awareness of a shaping hand that keeps the action on track, moving toward the resolution-Blends two stylistic extremes: realistic execution with formally patterned narrat-ive-Set of conventions, not rules-Linear plots-Characters-The Classical Paradigm favors goal-oriented characters:-Protagonist and antagonist with opposing wants-Characters have goals that make up the action of the movie; what they want is the reason why-The inner need: the thing the protagonist doesn’t want to address-Sub-plots-Hinged or parallel-Enhance or elaborate on a character, theme, etc.-Sometimes for comedic relief-Dramatic Unity: more often seen in theater than film-Plausible motivation-Smooth flow of action-A sense of inevitability-Mythic Structure: The Hero’s Journey: 12 Steps-Ordinary world-Call to adventure-Refusal of the call-Meeting the mentor-Crossing the threshold-Tests/allies/enemies-Approach to the inmost cave-Supreme Ordeal-Reward-Road back-Resurrection-Return with the ElixirWordplayer.com-Realistic Narratives-Lumiere Brother’s Arrival of a Train
-Presents a “slice of life”-Attempts to portray the world without distortion or mediation-Loose plots-May not have clear conflict of beginning, middle, and end-Often episodic – based on cycles of nature, rites of passage, or other limited time periods-Chronological-Slower paced-Plain, straightforward presentation-May feel “gritty” or “unpolished”-Non-intrusive implied author who avoids making judgments-Anti-sentimental POV: No miracle cures-Avoids exaggeration and melodrama-Embraces the notion of causality and motivation; rejects fate and destiny-Formalistic Narratives-Melies’ A Trip to the Moon-Overly manipulative author-Sense of artificiality-Time often rearranged-Heightening or restructuring of events to maximize thematic effect-May be structured by theme-Lyrical interludes; interruptions to forward momentum-Documentaries-Structured according to theme or argument-Careful selection and shaping of details-Avant-Garde Films-Obscure, unorthodox, experimental-May seem incomprehensible-Author’s “inner impulses”-Spontaneity-May not rely on scriptThe Screenplay-A blue print-A skeleton-A frameworkDifferences between plays and filmPlays:-Performed live-Story is communicated primarily through dialogue-Plays are often studied or read for pleasure-What you pay attention to is dictated by the ferocity of the performance-A play text a complete work. Playwright’s words are held sacrosanct.

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