Tài liệu Writing the short film 3th - Part 52 doc

drawing out, 133–134 physical, 132 positioning, 128–129 research in, 134–135 in short film, 127 singular qualities, 133 tragedy in, 138 Characters, 5. See also Antagonist; Main Character; Protagonist; Secondary Characters abstraction of, in experimental narrative, 208–209 appearances and, 43–44 behavior defining, 39–40 believable, 135–136 comic, 137–138 complexity in, 136–137 describing, 43 dialogue and, 143 in docudrama, 172–173, 179 docudrama case studies in, 182–183 in dramatic strategies, 121 drawing out, 133–134 experimental narrative case studies in, 216–218 finding, 44 flat, 127 habitual behavior and, 37–39, 60 in hyperdrama, 189–190, 197 hyperdrama case studies in, 201 images and, 22–23 intentional/energized, 133 interactions, 45 melodrama case studies in, 166–167 objectives of, 160–161 polarity, 91 positioning, 127–128 qualities of, 90 rounded, 127 singular qualities of, 133 in Thelma and Louise, 38–39 tragic, 138 voice and, 65–67 Chayevsky, Paddy, 117 Chicago Hope (television), 154 Un Chien d’Andalou (Buñuel and Dali), 2, 205 A Children’s Story (Justice), 153, 154–155 plot in, 167 structure in, 166–167 tone in, 167 Chinatown (Polanski), 11, 41 revisions of, 82 screenplay shorthand in, 40–41 voice in, 65–66 Chungking Express (Wong Kar-Wai), 207, 209 CILECT, 3–4 Cinema verité, 171, 174, 176 Citizen Kane, 144 comedy in, 81 The Class of ‘75 (Dancyger), 32 Clement-Ferrand Festival, 3 Climax in dramatic strategies, 124 identifying, 54–55 strategies for, 93 A Clockwork Orange (Kubrick), 130, 188, 191 Close-ups, 104 Cocteau, Jean, 18, 20, 22 condition of, 76 on images, 17 Columbus, Chris, 3 Comedy, 96–97, 114 in characterization, 137–138 definition of, 116 melodrama and, 81 Commercials short film and, 230 Communication, 89 The Company of Wolves (Jordan), 189 Complexity in characterization, 136–137 Conflict in dramatic strategy, 120–121 Contemporary issues in docudrama, 174 in hyperdrama, 192 in melodrama, 156–157 Context, 69–70 Index 347 Index.qxd 9/27/04 6:13 PM Page 347 Cooper, Pat, 29, 62, 70 Copenhagen (Frayn), 153 Coppola, Francis Ford, 102 Craig, Laurie, 14 Creative solutions in dramatic strategy, 124–125 Cries and Whispers (Bergman), 26 Crimes and Misdemeanors (Allen), 162 The Criminal Mind of Archibald Cruz (Buñuel), 188 The Crying Game (Jordan), 102 Culloden (Watkin), 173 as docudrama case study, 175–177 Cuts in second drafts, 82–83 Dali, Salvador, 2, 117, 205, 207 Dallas (television), 225 Dancyger, Ken, 32 Dangerous Liaisons (Hampton), 28 screenwriting in images in, 24–25 Dante, 208 Dash, Julie, 206 Daughters of the Dust (Dash), 206 David Holzman’s Diary, 115 Davies, Terence, 206 Dead Letters Don’t Die (Granofsky and Swanhaus), 45, 201–202, 257, 323–343 dialogue in, 68–69 Dead of Night, 4 Deardon, Basil, 4 Death of a Princess, 174 Demme, Jonathan, 224 Deren, Maya, 2 Dialect, 143 Dialogue as action, 70–72 characterization and, 142, 143 cutting, 83 as dramatic action, 69–70 as exposition, 68–69 intensifying tension with, 145 narration and, 146–147 plot and, 143–144 purposes of, 142–143 realism and, 148 relieving tension with, 146 revising, 74 in short film, 141 silence and, 147–148 as transition, 144 Digital video, 225 short film and, 231–232 Direct cinema, 171 Disney, Walt, 2 Distant Voices, Still Lives (Davies), 206 Distinct style in experimental narrative, 206–207 Divine Comedy (Dante), 208 Docudrama, 114 actuality in, 172 author’s voice in, 174–175 character case study in, 182–183 contemporary issues in, 174 definition of, 115 documentary and, 179–180 goals in, 179 history of, 171–172 main character in, 173 main character in short film, 181 main character’s relation to plot in, 180 motifs in, 175–178 place and time in, 172–173 place case studies in, 183 plot case studies in, 183–184 plot in, 173–174 plot in short film, 181 structure of, 180–181 structure of, in short film, 182 style in short film, 181 time case study in, 184 tone case studies in, 184–185 tone of, in short film, 182 writing devices for, 178–179 Documentary docudrama and, 179–180 short film and, 228–229 Dogma 95 films, 172 The Double Life of Veronique (Kieslowski), 206, 209 Dovschenko, Alexander, 205, 208 348 Index Index.qxd 9/27/04 6:13 PM Page 348 Dr. Strangelove (Kubrick), 117 Dr. Zhivago (Lean), 157 Drafts cutting inessentials in, 82–83 first, 78 Malamud, Bernard, on, 79 second, 80–81 third, 84 Drama framing, 114–115 origins of, 47 Dramatic action of antagonist, 54 Aristotle on, 48 dialogue as, 69–70 as motif, 158 of protagonist, 53–54 resolving, 54 Dramatic arc as motif in docudrama, 176, 177–178 as motif in experimental narrative, 211, 213–214 as motif in hyperdrama, 194, 195–196 as motif in melodrama, 158, 159 Dramatic core, 121–123 Dramatic strategies character in, 121 climaxes in, 124 creative solutions in, 124–135 endings in, 124 energy in, 125 idea behind, 113–114 insight in, 125 middle in, 124 plot points in, 123 tone in, 119–120 voice in, 119 Dramatic strategy beginnings in, 123–124 conflict in, 120–121 polarity in, 120–121 A Dry White Season (Palcy), 154 Duck Soup (Marx Brothers), 187 Duvall, Robert, 131 Earth (Dovschenko), 205 East of Eden (Kazan), 156 Eastwood, Clint, 11, 102 Eclipse (Ruscio) tone case studies on, 218 Education, 225 storytelling and, 89–90 Edward Munch (Watkins), 173 Egoyan, Atom, 163, 206, 207, 209, 231 Elder, Bruce, 3 Elliot, Ayanna, 167 Embrechts, Gert, 227, 233, 235 Emerling, Susan, 257, 308 Empire of the Moon (Haptas and Samuelson) place case studies in, 217 Encyclopedia Britannica, 63 Ending in dramatic strategies, 124 identifying, 54–55 Enemies: A Love Story (Mazursky), 156 Energized characters, 133 Energy in dramatic strategy, 125 The English Patient, 154 Enrico, Robert, 20, 144 ER (television), 154, 225 Escape from Alcatraz (Siegel), 62 Eszterhas, Joe, 132 E.T. (Spielberg), 188 Everyday Except Christmas (Anderson), 171 Excalibur (Boorman), 189, 190, 192, 198 Exotica (Egoyan), 163, 207, 208, 209, 216, 231 Experimental film short film and, 229–230 Experimental narrative author’s voice in, 209–210 character abstraction in, 208–209 character case studies in, 216–217 character use in, 215–216 definition of, 205 distinct style in, 206–207 Index 349 Index.qxd 9/27/04 6:13 PM Page 349 Experimental narrative (Continued) intellectual concepts in, 208 linkages to other arts in, 207–208 motifs in, 210–214 nonlinearity in, 206 patterns in, 209 place case studies in, 217 poetry and, 215 ritualized tone in, 209 simple ideas behind, 215 story types benefiting from, 214–215 structure case studies in, 217–218 structure in, 216 tone and voice in, 216 tone case studies in, 218 voice case studies in, 218–219 Exposition dialogue as, 68–69 Exterior narration, 147 Extreme long shots, 104 Fable, 114, 229. See also Fairy tales; Myths definition of, 117–118 realistic dialogue in, 149 The Fabulous Baker Boys (Klove), 156 Fairy tales, 10–11. See also Fables; Myths adapting, 49–50, 62 choosing, for adaptation, 63 hyperdrama and, 198 “Fall guy” idiom, 98 Fantasy in hyperdrama, 191 realism v., 93–94, 149 Feedback getting, 83–84 Feeling, 13 Fellini, Federico, 3 Ferguson, Larry, 102 A Few Good Men (Reiner), 102 Film character positioning in, 129 first-person positioning in, 129 inherent qualities of, 102–103 second-person positioning in, 129–130 storytelling in context of, 101–102 First drafts Malamud, Bernard, on, 79 writing, 78 First Knight (Zucker), 198 First-person positioning, 128 in film, 129 Flaherty, Robert, 171 Flat characters, 127 Fleming, Victor, 189 For Whom the Bell Tolls, 174 Ford, John, 157 Formalism in hyperdrama, 191 Forman, Milos, 156 Forrest Gump (Zemeckis), 188, 190, 199 moral lessons in, 188 Forster, E.M., 9, 102, 127 Forsythe, Frederick, 94 Four Little Girls (Lee), 224 Framing genre and, 114–115 Frankenheimer, John, 189, 192 Frayn, Michael, 153 Friedrich, Su, 206, 208 Gangster film, 114 Gare du Nord (Rouch), 13–14 Gender, 143 Genesis and Catastrophe (Liebesman), 227 Genre, 10–11 framing and, 114 Get On the Bus (Lee), 224 Giler, David, 102 Goals, 91 character, in docudrama, 179 in hyperdrama, 197 as motif in docudrama, 175, 177 as motif in experimental narrative, 210, 212–213 as motif in hyperdrama, 193, 195 as motif in melodrama, 158, 159 in short film hyperdrama, 200 Godard, Jean-Luc, 3, 4 350 Index Index.qxd 9/27/04 6:13 PM Page 350 The Godfather Part 1, 190 Goffman, Ervin, 43 Going to Work in the Morning from Brooklyn (Messina), 11–12 Goldenberg, Matthew, 83, 226, 233, 241 Goldman, William on screenwriting, 56 Granofsky, Anais, 201, 202, 257, 323 Grease Monkey (Craig), 14–15 Green, Anthony, 101, 233, 249 Griffith, D.W., 1 Grimm’s Fairy Tales, 63 Guest, Judith, 153 Habitual behavior character and, 37–39, 60 Hampton, Christopher, 24, 28 Haptas, John, 217 Harwood, Ronald on screenwriting, 32 Hemingway, Earnest, 91 Herzog, Werner, 188, 191 High Noon, 31 Hill, Walter, 102 Hills, Rust, 5, 47 Hitchcock, Alfred, 103 Hochschule, 3 Hoffa (Mamet), 102 Holland, Agnieszka, 102 Hopkins, Anthony, 132 Horror film, 114 “The Hospital” (Chayevsky), 117 How Green Was My Valley (Ford), 157 Howard’s End, 102 Huffman, Michael, 165 Hurbis-Cherrier, Katharine, 217 Hurbis-Cherrier, Mick, 217 Huston, Angelica, 157 Hyperdrama antagonist case study in, 201 author’s voice in, 191–192 catalysts in, 199 character case study in, 201 character in, 189–190, 197 contemporary issues in, 192 definition of, 187 fairy tales and, 198 fantasy in, 191 formalism in, 191 goals in, 197 goals in short film, 200 main character in short film, 200 moral lesson’s centrality in, 188–189 motifs in, 192–196 plot case study in, 202–203 plot in, 190, 197–198 plot in short film, 200 plot structure in, 190–191 realism in, 189 ritual in, 190–191 structure in short film, 200–201 structure of, 198–199 style in short film, 200 superheroes in, 197–198 tone case study in, 202–203 tone in, 191, 199 tone in short film, 201 writing devices for, 197–199 Idioms fall guy, 98 in storytelling, 98 Images character and, 22–23 Cocteau, Jean, on, 17 juxtaposition of, 103 utilizing, 76–77 Incident at Owl Creek (Enrico), 20, 22, 48, 127, 131 dialogue in, 144 dramatic core of, 121 image and situations in, 23–24 Insight in dramatic strategy, 125 Intellectual concepts in experimental narrative, 208 Intentional characters, 133 Interactions character, 45–46 Interior narration, 146–147 Interviews conducting, 67–68 It’s a Wonderful Life, 192 Index 351 Index.qxd 9/27/04 6:13 PM Page 351 It’s Not Just You, Murray (Scorsese), 3 I’ve Heard the Mermaids Singing (Rozema), 206 Ivory, James, 102 Jackson, Michael, 223 Jansco, Miklos, 206, 207 La Jetée (Marker), 206, 207 Jokes in storytelling, 96–97 Jordan, Neil, 102, 188, 189 Journey structure, 114 definition of, 118–119 examples of, 11–13 Judith of Bethulia, 1 Julius Caesar, 118 Justice, Graham, 153, 154, 167 Juxtaposition, 103 Kazan, Elia, 39, 156 on character, 128 Kershner, Irvin, 156 Khouri, Callie, 37 Kieslowski, Krystof, 206 Kill the Director (Mandel), 184–185 Klove, Steve, 156 Kopple, Barbara, 3 Kramer vs. Kramer (Benton), 154 Kubrick, Stanley, 117, 188, 191 Kusama, Karyn, 216, 257, 297 Kusturica, Emir, 188 The Lady in Waiting (Taylor), 41–42, 67, 165, 166, 257, 271–276 structure in, 166 tone in, 167 Lamorisse, Albert, 21–22 Land and Freedom (Loach), 174, 175, 179 motifs in, 177–179 Langer, Susanne, 13 Last Supper (Boxer), 226 Lauzon, Jean Claude, 189 Law, Clara, 210, 214 Lawrence of Arabia (Lean), 157 Lean, David, 157 Leaving Las Vegas, 161 Lee, Spike, 102, 163, 223, 224 Legend (Scott), 191 Leolo (Lauzon), 189 Lester, Richard, 3, 207 Letter writing, 75 Liebesman, Jonathan, 227 The Lion King, 189 Little Red Riding Hood, 108 Loach, Ken, 172, 174, 175, 179 Location, 34 exploring, 77 sound and, 35 Lodge, David, 59 Logan, Joshua, 198 The Loneliness of the Long Distance Runner (Richardson), 156, 173 Long film short film v., 4–6 Long shots, 104 Lorentz, Pare, 2 Lorenzo’s Oil (Miller), 101, 155 Loving (Kershner), 156 Lucas, George, 3, 131, 228 Macbeth, 118 Mad Max (Miller), 198 Magnolia (Anderson), 231 Mailer, Matt, 182 Main character. See also Characters; Protagonist antagonist and, 131–132 definition of, 105 in docudrama, 173 as motif in docudrama, 175, 177 as motif in experimental narrative, 210, 212–213 as motif in hyperdrama, 192–193, 195 as motif in melodrama, 158, 159 narration by, 130 objectives of, 160–161 plot and, in docudrama, 180 plot used against goals of, 161–162 positioning of, 129 secondary characters and, 130–131 352 Index Index.qxd 9/27/04 6:13 PM Page 352 in short film hyperdrama, 200 in short film melodrama, 164 struggle of, in melodrama, 155 Main conflict definition of, 48 Makiewicz, Joseph, 153 Malamud, Bernard on first drafts, 79 Malcolm X (Lee), 102 The Maltese Falcon, 11, 41 idioms in, 98 Mamet, David, 102 A Man Escapes (Bresson), 62 Man of Aran (Flaherty), 171 Man With a Movie Camera (Vertov), 171, 205 Manchevski, Milcho, 216 Mandel, Geoffrey, 184 Marathon Man, 56 Marat/Sade (Brook), 208 Marker, Chris, 206, 207–208 Martinez-Zaldivar, Juan Carlos, 200, 202 Marx Brothers, 187 Master scene format, 107 example of, 110–111 Mazursky, Paul, 156 McKelwee, Ross, 3 McLaren, Norman, 3, 118, 121, 205 McLean, Norman, 102 Medium Cool (Wexler), 171 Melodrama, 114 adaptability of, 155–156 character case studies in, 166 comedy and, 81 contemporary issues explored in, 156–157 definition of, 153 main character in, 155 motifs in, 158–159 as multi-genre, 157 objectives in, 160 plot case studies in, 167 plot used in, 161–162 psychology explored in, 156 realism in, 153–154 relationships as story elements in, 154–155 resolution in, 162–163 structure case studies in, 166–167 structure in, 163 summation of, 168–169 tone case studies in, 167–168 triangulation in, 161 writing devices for, 160–163 Mercer, David, 117 Merchant, Ismail, 102 Meshes in the Afternoon (Deren), 206 Messina, Philip, 11 Metaphor, 229 sound as, 31–32 Middle in dramatic strategy, 124 Miller, Arthur, 153 Miller, George, 101, 155–156, 198 Miller, Rebecca, 4 Minghella, Anthony, 154 The Mirror (Tartovsky), 206 Mix, Tom, 11 Mockumentary, 114 definition of, 115–116 Modern Times (Chaplin), 11, 187 Momma Don’t Allow (Reisz and Richardson), 171 The Money Shot (Mailer), 182–183 Morahan, Christopher, 156 Morality tale, 114 centrality of, 188–189 definition of, 118 Morris, Errol, 117 Motifs in docudrama, 175–178 in experimental narrative, 210–214 in melodrama, 158–160 in Priest, 158 Mulligan, Robert, 154 The Mummy, 225 Music Box (Eszterhas), 132 My Name is Rabbit (Rosthal), 153 character in, 166 My Own Private Idaho (Van Sant), 160 Index 353 Index.qxd 9/27/04 6:13 PM Page 353 . 184–185 tone of, in short film, 182 writing devices for, 178–179 Documentary docudrama and, 179–180 short film and, 228–229 Dogma 95 films, 172 The Double Life. 183–184 plot in, 173–174 plot in short film, 181 structure of, 180–181 structure of, in short film, 182 style in short film, 181 time case study in, 184 tone