Tài liệu Writing the short film 3th - Part 53 doc

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, 173–174 354 Index Index.qxd 9/27/04 6:13 PM Page 354 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 short film hyperdrama, 200 in short film 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 Index 355 Index.qxd 9/27/04 6:13 PM Page 355 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, 5 356 Index Index.qxd 9/27/04 6:13 PM Page 356 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 short film hyperdrama, 200–201 in short film 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 Index 357 Index.qxd 9/27/04 6:13 PM Page 357 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 short film hyperdrama, 201 in short film 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, 235–240 358 Index Index.qxd 9/27/04 6:13 PM Page 358 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 Index 359 Index.qxd 9/27/04 6:13 PM Page 359 Index.qxd 9/27/04 6:13 PM Page 360 . 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