Mythology (LaRousse), 63
Myths, 10–11. See also Fables; Fairy
tales
adapting, 49–50, 62
choosing, for adaptation, 63
Nanook of the North (Flaherty), 171
Narration
dialogue and, 146–147
exterior, 147
interior, 146–147
main character, 130
Narrative design, 114
overdeveloping, 138
Narrative shape
as motif in docudrama, 176
as motif in experimental
narrative, 212, 214
as motif in hyperdrama, 194
as motif in melodrama, 159,
160
Narrative style
as motif in docudrama, 176, 178
as motif in experimental
narrative, 211–212, 214
as motif in hyperdrama,
194, 196
as motif in melodrama,
158–159
The Nasty Girl (Verhoeven), 117
Natural Born Killers (Stone),
182–183, 207, 209, 231
The Navigator (Ward), 214
Neighbors (McLaren), 118
dramatic core of, 121
Neruda, Pablo, 217
Network (Chayevsky), 117
Nichols, Mike, 155
Night and Fog (Resnais), 3
Noir, 114
Nonlinear film
short film and, 230–231
Nonlinearity
in experimental narrative, 206
Notes on the Cinematographer
(Bresson), 29
Nuytten, Bruno, 173
O Dreamland! (Anderson), 3
O Lucky Man (Anderson), 198
Oberhausen Festival, 3
Objectives
in melodrama, 160–161
“An Occurrence at Owl Creek
Bridge” (Bierce), 92
“Ode to a Bar of Soap” (Neruda), 217
“Ode to the Spoon” (Neruda), 217
“Ode to the Table” (Neruda), 217
“Ode to Things” (Neruda), 217
Once Were Warriors (Tamahori), 154
One Day in the Life of Ivan Denisovich
screenplay for, 32–34
One Flew Over the Cuckoo’s Nest
(Forman), 156
Openings, 20–22
Ordinary People (Guest), 153
Orlando (Potter), 206
Orpheus (Cocteau), 17–19
Osborne, John, 130
Overdeveloping narratives, 138
Palcy, Euzhan, 154
Paper Mask (Morahan), 156
Passage (Cooper)
sound in, 29–31
The Passenger (Antonioni), 207, 208,
209
Periodical articles
as storytelling source, 95–96
Persona (Bergman), 26
Personal experiences, 94–95
Personal Velocity (Miller), 4
Physical characteristics, 132
Physical polarity, 120
Pigeon (Green), 101, 233, 249–255
Place
in docudrama, 172–173
docudrama case studies in, 183
experimental narrative case
studies in, 217
A Place in the Sun (Stevens), 154, 155
Plot
definition of, 105–106
dialogue and, 143–144
in docudrama, 173–174
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docudrama case studies in, 183–184
fantasy v. realism in, 94
in hyperdrama, 190, 197–198
hyperdrama case study in,
202–203
main character and, in
docudrama, 180
main character’s goal and, 161–62
melodrama case studies in, 167
qualities of, 90–91
in shortfilm hyperdrama, 200
in shortfilm melodrama, 164–165
storytelling strategies, 92–93
structure of, in hyperdrama,
190–191
twists, 106
Plot points
in dramatic strategy, 123
Plot qualities, 90
Pocketful of Stones (Weissman)
tone in, 168
Poetics (Aristotle), 10, 39
Poetry
experimental narrative and, 215
Polanski, Roman, 3, 21, 228
Polarity
behavioral, 120
character, 91
in dramatic strategy, 120–121
physical, 120
Poor Cow (Loach), 174
Positioning
first person, 128
of main character, 129
second person, 128
third person, 128
Potter, Sally, 206
Power structure, 155
Priest (Bird)
motifs in, 158–159
Protagonist. See also Characters;
Main character
definition of, 48
dramatic action of, 53–54
identifying, 51–52
polarized characters and, 91
situation of, 52
Psyche, 48
Psychology
in melodrama, 156
Ray, Man, 2
Realism, 137
dialogue and, 148
fantasy v., 93–94, 149
in hyperdrama, 189
levels of, 148–149
in melodrama, 153–154
Recognition
definition of, 48–49
The Red Balloon (Lamorisse), 21–22,
22–23, 48
character in, 23
comedy in, 116
complex behavior in, 136–137
image and situations in, 24
Redford, Robert, 102
Reed, Carol, 157
Reisz, Karel, 171, 173
Relationships
in melodrama, 154–155
Repetitive behavior, 136
Research
in characterization, 134–135
Resnais, Alain, 3, 206
Resolution, 93
in melodrama, 162–163
as motif, 158
as motif in docudrama, 176,
178
as motif in experimental
narrative, 211, 213
as motif in hyperdrama, 193,
195
Reversal
definition of, 106
as plot strategy, 92–93
Revision
Bergman, Ingmar, on, 79–80
Richardson, Tony, 156, 171, 173
Riefenstahl, Leni, 171
Riff Raff (Loach), 174
Rising level of action
as plot strategy, 92–93
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Ritchie, Michael, 171
Ritual
in hyperdrama, 190–191
tone, 209
Ritual occasion structure, 114
definition of, 119
example of, 13–15
River of Things (Hurbis-Cherrier),
217
A River Runs Through It (Redford),
102
Rohmer, Eric, 117
Rosthal, Elke, 153, 166
Rouch, Jean, 4, 13
Rounded characters, 127
The Round-up (Jansco), 206, 209
Rozema, Patricia, 206
The Running Jumping and Standing
Still Film (Lester), 3
Ruscio, Jason, 218
Samuelson, Kristine, 217
Satire, 114
definition of, 116–117
Saturday Night and Sunday Morning
(Reisz), 173
Satyricon (Fellini), 188, 208, 209
Saving Private Ryan (Spielberg), 174
Scene
definition of, 106
Schlesinger, John, 228
Schlondorff, Volker, 188, 192
Sci-fi, 102, 114
Scorsese, Martin, 3, 223, 224
Scott, Ridley, 191
Screenwriting, 5
Chandler, Raymond, on, 22, 70
changes in, 74
first drafts, 78
Goldman, William, on, 56
Harwood, Ronald, on, 32
in images, 24–25
Malamud, Bernard, on, 79
shorthand, 40–41
structuring, 55–56
Scripts
definition of, 107
getting feedback on, 83–84
restructuring, 81–82
Second draft
cutting inessentials in, 82–83
working towards, 80–81
writing, 82
Secondary characters. See also
Characters
definition of, 105
main character and, 130–131
Second-person positioning, 128
in film, 129–130
Seconds (Frankenheimer), 189, 192
motifs in, 195–196
Secret Santa (Huffman), 165
Sennet, Mack, 1
Septuri, Adisa Lasana, 122, 132
The Seventh Seal, 200
Sex, Lies, and Videotape (Soderbergh),
160, 161
Shapiro, Lisa Wood, 42, 146, 200,
257, 259
The Sheltering Sky (Bertolucci), 208
She’s Gotta Have It (Lee), 163
Shine, 154
Short film
characterization strategies in, 127
commercials and, 230
current situation in, 225–228
dialog in, 141
digital video and, 231–232
docudrama, 181–185
documentary and, 228–229
evolution of, 1–4
experimental film and, 229–230
hyperdrama, 199–203
importance of, 228
long film v., 4–6
main character in, melodrama, 164
melodrama case studies in,
165–168
new directions in, 232
nonlinear film and, 230–231
plot in, melodrama, 164–165
structure in, melodrama, 164
tone in, melodrama, 165
Short story, 5
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Shorthand, 40–41
Shots, 104
Shyamalan, M. Night, 3
Siegel, Don, 62
Silence
dialogue and, 147–148
Silence of the Lambs, 132
Sink or Swim (Friedrich), 206, 208,
209
6 in Paris, 4
Slavens, Michael, 83, 226, 233, 241
Sleeping Beauties (Kusuma), 13, 257,
297–307
character case studies in, 216–217
Smith, John, 157
Snow, Michael, 2
“The Snows of Kilimanjaro”
(Hemingway), 91, 92
Sob Story (Goldenberg and Slavens),
83, 226, 233, 241–248
Soderbergh, Steven, 160
Solondz, Tod, 157
Sorkin, Aaron, 102
Sound
Bresson, Robert, on, 29
juxtaposition, 103
location description using, 35
as metaphor, 31–32
Sound design
visual design and, 109
Sound images
using, 35
Southern, Terry, 117
Spiderman, 225
Spielberg, Steven, 174, 189
Spigland, Ethan, 183, 184
Stanislavski, Konstantin, 43, 128
Star Wars, 187, 188, 200
The Stars Look Down (Reed), 157
Stevens, George, 154
Stone, Oliver, 3, 182, 207
Story framing, 114–115
The Story of Red Rose (Martinez-
Zaldivar), 200, 202
Story outlines
for original scripts, 77–78
reflecting on, 59
writing, 56–57
Storytelling
anecdotes in, 99–100
Calvino, Italo, on, 15
education and, 89–90
in film context, 101–102
idioms in, 98
jokes in, 97–98
main character positioning in, 129
need for, 89–90
periodical articles as source for,
95–96
qualities of, 90–91
sources for, 94–95
strategies for, 90
working definition of, 9–10
Strange Case of Balthazar Hyppolite
(Spigland), 183–184
A Streetcar Named Desire, 39
Structure
definition of, 106
in docudrama, 180–181
in experimental narrative, 216
experimental narrative case
studies in, 217
finding, 55
of hyperdrama, 198–199
in melodrama, 163
melodrama case studies in,
166–167
restructuring, 81–82
in shortfilm hyperdrama, 200–201
in shortfilm melodrama, 164
Subtext, 69–70
The Sun Also Rises, 174
Superheroes
in hyperdrama, 197–198
Surprises
definition of, 106
as plot strategy, 92–93
Swanhaus, Michael, 201, 202, 257, 323
Sweetie (Campion), 206
The Sword of Lancelot (Wilde), 198
Synopsis, 60
Tamahori, Lee, 154
Tartovsky, Andrei, 206, 207
Taylor, Christian, 41–42, 166,
167, 257, 271–296
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Technology, 225
Tel Aviv Film Festival, 3
Tension
intensifying, through dialogue,
145–146
relieving, through dialogue, 146
Terminus (Schlesinger), 228
Text, 69–70
Thelma and Louise (Khouri), 37, 44
character in, 38–39
dialogue in, 68–69
They Drive by Night, 37
Third drafts
working towards, 84
Third-person positioning, 128
of main character, 129
13 Conversations About One Thing,
231
This is Spinal Tap, 115
Thriller (Jackson), 223
THX 1138 (Lucas), 3, 131, 228
Time
in docudrama, 172–173
docudrama case study in, 184
The Tin Drum (Schlondorff), 188, 192
motifs in, 192–195
Titanic (Cameron), 153, 154
To Kill A Mockingbird (Mulligan), 154
Toby Dammit (Fellini), 3
Tom Jones, 130
Tone
docudrama case study in,
184–185
in dramatic strategy, 119–120
in experimental narrative, 216
experimental narrative case
studies in, 218
in hyperdrama, 191, 199
hyperdrama case study in,
202–203
melodrama case studies in,
167–168
as motif in docudrama, 176–177,
178
as motif in experimental
narrative, 212, 214
as motif in hyperdrama, 194–195,
196
as motif in melodrama, 159, 160
ritualized, in experimental
narrative, 209
in shortfilm hyperdrama, 201
in shortfilm melodrama, 165
“Tortoise and the Hare,” 91, 92
Tough (Elliot), 167
Tourneur, Jacques, 31
Towne, Robert, 40, 82
Tragedy
in characterization, 138
Transition
dialogue as, 144
Triangulation
in melodrama, 161
Triumph of the Will (Riefenstahl), 171
Truly, Madly, Deeply (Minghella),
154, 155, 161
The Truman Show (Weir), 160, 161
Twain, Mark, 97
Twists
definition of, 106
Two Men and a Wardrobe (Polanski),
3, 21, 228
character in, 23
complex behavior in, 136–137
image and situations in, 23–24
Types, 136
Underground (Kusturica), 188, 190
Unforgiven (Eastwood), 11, 102
comedy in, 81
Updike, John, 94
Van der Rohe, Mies, 34
Van Diem, Mike, 158, 172
Van Dyke, Willard, 2
Van Sant, Gus, 160
Verhoeven, Michael, 117
Vertov, Dziga, 171, 205
“The View from Here” (Septuri),
122–123, 132
A View From the Bridge (Miller), 153
Vincent (Embrechts), 227, 233, 235–240
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Vinterberg, Thomas, 172
Visual design
sound design and, 109
Visual detail, 103
Visualization
principle of, 107
process of, 107–108
Voice
of author in docudrama, 174–175
of author in experimental
narrative, 209–210
of author in hyperdrama, 191–192
character and, 65–67
in dramatic strategy, 119
in experimental narrative, 216
experimental narrative case
studies in, 218–219
Von Trier, Lars, 172, 188, 191
Vonnegut, Kurt, 117
The Waiters (Webb), 109
Waiting, 108
Wanting, 108
The War Game, 115
Ward, Vincent, 214
Watching, 108
“Watching, waiting, wanting,” 108
Watkins, Peter, 173, 175
Webb, Ken, 109
Wednesday’s Child (Loach), 172
Weir, Peter, 160
Weissman, Emily, 168
West Wing (television), 225
Westerns, 102
Wexler, Haskell, 171
Wieland, Joyce, 2
Wilde, Cornel, 198
Wilde, Oscar, 43
on life, 76
The Wizard of Oz (Fleming), 189, 191
Wong Kar-Wai, Won, 207
Working Girl (Nichols), 155
The Wounding (Emerling),
257, 308–322
Working Girls (Borden), 117
Wright, Basil, 2
Writing devices
docudrama, 178–181
for experimental narratives,
214–216
for hyperdrama, 197–199
for melodrama, 160–163
X factor, 35–36
Yates, Peter, 154, 156
Zemeckis, Robert, 188
Zucker, David, 198
Zweig, Paul, 9
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. and, in
docudrama, 180
main character’s goal and, 161–62
melodrama case studies in, 167
qualities of, 90–91
in short film hyperdrama, 200
in short film melodrama,. studies in,
166–167
restructuring, 81–82
in short film hyperdrama, 200–201
in short film melodrama, 164
Subtext, 69–70
The Sun Also Rises, 174
Superheroes
in