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MINISTRY OF EDUCATION AND TRAINING HANOI NATIONAL UNIVERSITY OF EDUCATION NGUYEN THI PHUONG THAO MOVIE SCRIPT AS A LITERARY GENRE Major Theory of Literature Code 9 22 01 20 SUMMARY OF DOCTOR OF PHYLOS[.]
MINISTRY OF EDUCATION AND TRAINING HANOI NATIONAL UNIVERSITY OF EDUCATION NGUYEN THI PHUONG THAO MOVIE SCRIPT AS A LITERARY GENRE Major: Theory of Literature Code: 9.22.01.20 SUMMARY OF DOCTOR OF PHYLOSOPHY IN LITERATURE Hanoi - 2022 This thesis has been completed in HANOI NATIONAL UNIVERSITY OF EDUCATION Instructors: Assoc.Prof Dr Le Tra My Dr Tran Ngoc Hieu Reviewer 1: Assoc.Prof Ly Hoai Thu Workplace: VNU Hanoi University of Social Sciences and Humanities Reviewer 2: Assoc.Prof Phung Ngoc Kien Workplace: Institute of Literature Reviewer 3: Dr Do Van Hieu Workplace: Hanoi national university of education Hanoi - 2022 INTRODUCTION Rationale Up to now, cinema has been born and developed for more than 100 years Although its starting point was only envisioned as a pastime in Western urban life, cinema gradually became the seventh art form with a great position and role in cultural life besides the traditional art forms that have appeared since ancient times Recognized as a synthetic art - with many components involved and constituting - cinema fuses diverse art forms: painting, photography, music, architecture and including literature The most important part of literature involved in creating a film is the script The position of the script is so important that Alfred Hitchcock - a famous British filmmaker, one of the greatest directors in cinema history asserts: "To make a great film, three things are needed: the script, scripts and scripts" With linguistic material - the material of literature, the script shows the obvious thing: literature is a constitutive element of a cinematic work 1.2 In recent years, the study of film is a dynamically developing field with many important changes However, academic life is still very sparse with studies of movie scripts from a literary perspective, despite the special position of scripts In Vietnam, right from the 90s of the last century, there was a screenwriting contest in Van Nghe newspaper, two works that won third prizes were Anonymous Eucalyptus Tree (Nguyen Quang Than), Moon on the guest land (Nguyen Thi Hong Ngat) Many Vietnamese poets and writers are active in film associations, such as: Dang Nhat Minh, Nguyen Huy Thiep, Nguyen Quang Lap, Nguyen Quang Sang, Nguyen Van Thong, Nguyen Thi Hong Ngat, Pham Thuy Nhan Thus, Vietnam was soon aware of the special role of feature movie scripts in both art forms: cinema and literature Many movie scripts have been published on Internet sites, translated and published into books such as the script collection of Dang Nhat Minh, Pham Thuy Nhan, Nguyen Thi Hong Ngat, Tran Anh Hung, Vo Thi Hao won the national Literary Award Not only stopping at the filmmaking material, the screenplay of the feature film also influences the writing style of literature, associated with new discoveries in terms of narrative Many "cinema" novels were born, the work of Marguerite Duras being one of the typical examples 1.3 The study of scripts from a literary perspective can shed light on the aesthetic characteristics of this genre; contributes to providing film researchers with certain knowledge and equips ordinary readers with the method of decoding the script, obtaining an effective reading The thesis shows respect for each script, shows the non-stop perfection of the script from the time it was born to the time it was filmed, and affirms a special respect for the screenwriter - knowledgeable writers in the field of cinema, always strives to find out new things in topics, themes, art of expression and especially has high patience, career sacrifices to complete the script to meet the requirements requirements of manufacturers, agencies, organizations and many other complex requirements This research, in one hand, promotes and influences scriptwriting activities because the script's material is words; on the other hand, makes us rethink the peculiarities of the dramatic literary genre For a long time, the study of drama literature has only paid attention to the script, even though cinema is in the position of the neighboring "younger brother" of the stage Looking back at the history of world literature, once the position was denied, but now the screenplay has become an independent literary genre, written to serve theatrical art, and at the same time bring pleasure to the audience Reading; many playwrights became canonical authors/winners of the Nobel Prize in literature such as Shakespeare, Harold Pinter, Eugene O'Neill It's time to recognize the role of screenwriter/screenplay in a proportionate way This is also the theoretical significance of the topic We can expect the names of film screenwriters to be honored at the Nobel Prize in the near future From all the above theoretical and practical reasons, we conduct the research: Movie script as a literary genre Object and subject of the study 2.1 Research object The research object of this work is the characteristics of the genre of cinema from a literary point of view 2.2 Research scope The scope of the research is the screenplays of feature-length films and films of the screenwriter (distinguished from the short movie scripts and storyboards of the director rich in technical elements) In English, the concept of "script" is said in two ways: script and screenplay Script means preproduction script, original literary script, writer's work Screenplay refers to the scenario that has been realized on screen into a film When watching a film, the audience can to some extent imagine the script of that film Due to the study of movie scripts from a literary perspective, the focus of the writer's research is on scripts However, sometimes we still have to perform a comparison with screenplay in some cases, for reasons of film file security, lost script, language barrier The thesis focuses on surveying mainly Vietnamese scripts, with the addition of some foreign scripts with 38 Vietnamese movie scripts, 15 English scripts; In addition, it also surveyed and compared more than 70 other scenarios Among them, there are scripts that have been published into books, such as the script collection of Dang Nhat Minh, Nguyen Thi Hong Ngat, Nora Ephron, ; or the scripts are printed into text for readers to enjoy independently such as: Adrift; Bi,don't be afraid ; Father and son and by Phan Dang Di; Sand life, Island of the inhabitants by Nguyen Quang Lap; Away time by Ho Quang Minh; American Beauty by Alan Ball; Some screenplays, TV series were also included in the survey to compare and contrast Research aims and missions 3.1 Research aims With this study, for the first time, the screenplay of a feature film is approached as a literary genre The thesis aims at affirming the specificity of the genre of the feature movie script, distinguishing it from the theatrical script and other types of narrative 3.2 Research missions From the research purpose, we define the research task: to build a research model of movie script as a literary genre This model not only helps us to understand the literary features of the screenplay, but also suggests to the filmmakers and the audience somewhat the evaluation criteria for the screenplay stage at the specific levels Proposing a research model will differentiate the thesis from script writing teaching materials - where we use scripts as specific case studies to guide filmmaking The purpose of the thesis is not to help readers gain knowledge and skills to write a script, but to show that a script is an aesthetic artistic text that is not only necessary for people and the profession of filmmaking but also can create pleasure reading for recipients Research methods We combine many different methods in the research process, in which the main methods are as follows: Structural method: With this thesis, the writer carries out modeling - proposes a model to study film screenplay as a literary genre, so the most important method to be implemented is the structural law Typological method: Based on a diverse system of screenplays and films being surveyed, the writer finds out the basic common characteristics and community values of the scripts from a literary point of view Interdisciplinary method: Because the research object of the thesis is a very specific object - the script of a feature film - a component of a cinematic work, cinema is a general art, so the writer carry out research from an interdisciplinary perspective - literature, cinema; cinema, theater; cinema, photography; cinema, art… Method of comparison and contrast: An important operation that needs to be used in the thesis is to compare, in order to find out the characteristics of the movie script genre Although the main research object of the thesis is the scriptwriter's original literary script (script), we still need certain comparisons and contrasts with "screenplay" - the script is realized on the screen into a successful film Statistical methods & analysis, synthesis: From a certain number of scenarios (ensuring the principle of diversity and richness), we perform this operation to analyze aspects of the literature shown in the scenarios included in the survey; from which to draw the basic general characteristics from the perspective of literature in screenplay, feature film New contributions of the research This is the first work to focus and systematically study on the screenplay of a feature film, not from a cinematic perspective, but from a literary perspective, and propose it to be an independent literary genre The thesis builds a research model of screenplay and feature film as a literary genre, establishing the characteristics of this genre in distinguishing it from theatrical scripts and other narrative texts The thesis has made certain contributions in the life of literary enjoyment Film screenplay - an important text in the film production process and people often doubt its literaryness, but in fact the screenplay is a form of artistic text rich in aesthetics, creating enjoyment reading sensibility, can exist independently like any other literary work The thesis contributes to providing certain insights for readers to get an accurate and effective "reading"; At the same time, it helps viewers to partly appreciate the value of the screenplay through reading the text directly or through the process of watching the film The thesis has a certain practical significance for screenwriters of films movie scripts have their own characteristics, screenwriters should avoid writing as a short story, novel, screenplay in practice While literary researchers are still focusing on the mode of adaptation, as an intertextual relationship between literature and film, this study represents a promising direction of interdisciplinary research in the future approach to studying movie scripts from the perspective of literature, because the script uses linguistic material - the material of literary art Structure of the thesis In addition to the Introduction, Conclusion, Publications, References and Appendices, the content of the thesis is developed in detail in the following chapters: Chapter Overview Chapter Movie script as a model of worldview Chapter Movie script as a communication model Chapter Movie script as narrative model Chapter INTRODUCTION 1.1 Movie script as an element of a feature film 1.1.1 Movie- a turning point in storytelling Early human history did not have a written word, stories were transmitted orally - told by word of mouth In addition to linguistic materials, people tell stories in a variety of forms: drawings carved in mountain caves, folk songs, music, pictures on ceramic vases, sacrifices The birth of writing is a turning point tell the great story of mankind When there is writing, people tell stories in words Over the next 20 centuries, the art of storytelling evolved into the quintessence of the novel genre Not only that, with the need to share at different levels, the stories told by a variety of materials have developed quintessence into art: with colors, lines in painting; rhythm, rhythm, pitch in music; the acting art of the actor in a certain context at the stage; still images in photography… Cinema arose from the suggestion, the attraction in photography If photography is "still image", then cinema is the art of "moving image" Cinema has progressed from simply recording entertainment to a real art What makes cinema so special to the masses is its ability to synthesize and overcome the many limitations of previous visual and expressive arts Cinema overcomes the limitations of the conventional stage associated with the "only three" rule, absorbing the attraction of music, painting, photography Movies have many genres: feature films, documentaries, scientific films, textbooks In the world of movies, feature films hold a prominent position Cinematographic film can be simply defined but the core is as follows: A film that tells a certain story in an artistic cinematic language Movies and movies are both a mode of human storytelling and a leading form of entertainment in the world today In the first stage, feature films and movies did not have scripts, scripts only existed in the form of ideas In order to increase competitiveness with many other entertainment art forms (such as theater), to serve the professional filmmaking process, etc., the script was born, the role of the screenwriter gradually took shape 1.1.2 Script - the beginning of a feature film From a cinematic perspective, the script is a paper film; an intermediate state, a transient textual form that then transforms and disappears into a film, written for a primary audience of film crew members - each reading in its own way and purpose Most films go through three stages: pre-production, production, and post-production The script is in the first stage of the filmmaking process, with many stages: synopsis, script with one/several revisions, complete script The script is a part of the film production process If the script is made with artistic language text, the remaining stages are the transformation of that text into a film by technical manipulations, acting, and combining various art forms (painting, photography, etc.) photos, music, sculptures, etc.) to create vivid movies 1.2 Movie script studies for films 1.2.1 Studying movie scripts in cinematic art studies * Firstly, the works talking about the definition of movie script Definition of movie script is mentioned in many works and research papers: Language of cinema and television (DIXT/Jean Pierre Fougea and Vietnam Cinema Association co-published, 2007); Cinema, Saturday art (Cao Thuy, Youth Publishing House, 2004); Walking in the cinema garden (Viet Linh, Saigon Cultural Publishing House, 2006) From a cinematic point of view, a movie script is understood as a script for a story It is a paper film As an intermediate state, a transient textual form that then transforms and disappears into a film, written for a primary audience of film crew members to read - each read in its own way and exclusively for the filming process, not for literary enjoyment Include only what “shows”: images, sounds, glances and silences, movements, and stillness * Second, the works of film research follow historical trends, talk about the position and role of screenplays and screenwriters As an important textbook for film students, two volumes of World Cinema History (Hanoi National University Press, 2007) David Bordwell and Kristin Thompson's The Art of Cinematography (Education Publishing House, 2008) , David Bordwell, mentions the script as one of the important issues of film preparation World cinema is associated with the history of screenplay, many films are adapted from novels, stage scripts; many successful films are thanks to the script has the ability to deeply move people Regarding the history of Vietnamese cinema, two books The History of Vietnamese Cinema (Cinema Department published in 2003, 2005); Vietnam Cinema 1983 (Published by the Cinema Department) shows that from the early years of the country's cinema, scripts have been honored and awarded at the Film Festival In particular, the article Cinematic Screenplay and Concepts of Le Ngoc Minh (Journey to Research Vietnamese Cinema Culture and Information Publishing House, 2007) affirms the concept of many countries: the script is a field A new literary field, an unprecedented literary field, cannot be left out of the gate of the literary ivory tower because it has already been born Regarding the role of the script in the movement of film history, a remarkable work is the book Writing screenplays for feature films by author Le Ngoc Minh (Cinema Association, Hanoi Theater Publishing House, 2006) The author highlights this role first of all through statistics: the five great leaps of cinema all started with the script or from the head of the writers and directors * Third, works on writing screenplay techniques for movies The works on writing screenplay techniques for movies are very rich: American Screenplay Documents (John W Bloch - William Fadiman); Film and TV screenwriting techniques (R.Walter); Self-taught screenwriting (Ray Frensham); Methods of writing screenplays (Vgik National Film School-Soviet Union) These documents are intended to teach the profession of screenwriters, not to research and reason about the beauty of script texts * Fourth, works that talk about the scripting team's approach to the script Starting from the purpose of writing scripts to make films, the script reading community is quite large, most of which are people involved in film production They read the main script to find and their specific work Therefore, the works on approaching the script of the filmmaking team are very rich: Tra Giang - People's Artist, Cinematographer (Published by Vietnam Film Institute, 2010), Cinematographer (Vietnamese Film Institute, 2010) M.M Volnhes, Hong Duc Publishing House, 2016), When the director is young and old (Le Minh, Saigon Cultural Publishing House, 2011), Studio Secretary's Manual (Pat P Miller, Culture Publishing House, 2011)… In this document system, there are some opinions that assert that the feature movie script is a special literary genre Screenwriter Nguyen Thi Hong Ngat in the screenplay collection Gamble, My Father and Two Women, The Moon on a Foreign Land (Literary work won the State Prize, Writers Association Publishing House, 2015) affirms: The screenplay can be called a special literary genre Tu Publishing House translates and publishes a series of screenplays and films (Walking in the Clouds, Casabalanca, Letters from an Unknown Woman ) affirming that the feature movie scripts have stood independently, becoming a literary form of its own However, all opinions and comments in the works simply stop at the designation 1.2.2 Studying the script of movies in interdisciplinary studies of literature cinema and in literary studies If film is the integration in which the quintessence of many arts such as literature, painting, sculpture then the script of the movie is created solely by linguistic material - the material of literature Therefore, in interdisciplinary studies, the script is seen mainly from the perspective of interdisciplinary with literature For example: the thesis The influence of traditional literature and art on the art language of Vietnamese feature films by Phan Thi Bich Ha (Institute of Culture and Information, 2004), Cultural patterns and art of Vietnamese feature films (Culture and Information Publishing House, 2011) by Tran Thanh Tung, Looking for poetic cinema (Internal research document, Vietnam Film Institute) by Ta Hoang Anh… Notably, in the book Cinema and Literature (Timothy Corigan, World Publishing House), a study on the script by author Besla Balázs affirms: the screenplay is also a characteristic form of literature independent like theatrical script…, is a literary form worthy of a poet's pen, a form of literature that can even be published and read like a book In the Dictionary of Literary Terminology (Le Ba Han - Tran Dinh Su - Nguyen Khac Phi, co-editor, Education Publishing House, 2013), the movie script is assumed to be a concept that belongs to the category of literature and clearly defined In summary, the documents and works talk about the script quite a lot, but mainly study the script from a cinematic perspective, in order to guide people in the film world to work or consider the relationship between cinema and literature studies in certain aspects , there has been no systematic study of movie scripts, considering them as an object of study from a literary perspective with specific linguistic materials This is what makes the writer's research new In this work, the movie script is placed in the central position, as an independent literary genre The writer conducts a survey of the screenplay script writing system to confirm three issues: First of all, the movie screenplay is a type of "readable" text like any other literary work ; Its reading audience is characteristic, ensuring the principle of diversity and richness; Those are really aesthetically pleasing texts that give pleasure to read 1.2.3 Studying the movie script of a feature film as the main research area We temporarily divide the research materials on movie scripts as the main research area into three sub-categories of content On screenwriting techniques and artistic value of screenplays for films, the works: Documentary American Cinema Screenplay (John W.Bloch - William Fadiman); Self-taught screenwriting (Ray Frensham); A guide to solving difficult problems for film writers (Sydfield)… mainly guides on how to write screenplays or guides the writer's career - copyright, script sales, pseudonyms Some A document that studies the artistic value of feature movie scripts but always puts the script under the projection of cinema, not of literature: Theory of film screenplay by Doan Minh Tuan (House of Literature) Publishing Culture and Information Hanoi, 2008); The art of writing a feature movie script by William Packard (Translated by Dang Minh Lien, Vietnam Film Institute Published and Internally circulated, 2021); Writing film and television scripts by Sam Thuong (Ho Chi Minh City Cultural and Arts Publishing House, 2011); Thesis of Nguyen Thu Dung - the topic The attractiveness of the screenplay for feature films (Hanoi University of Theater and Cinema, 2005)… With the issue of improving the artistic quality of the script, there are a number of documents: Proceeding of the seminar How to have many good scripts for feature films (Vietnam Film Institute - Vietnam Film Association published content) ministry, 2001); Thesis The problem of developing scripts in feature films based on events and real characters by Nguyen Thi Nhu Quynh (Hanoi University of Theater and Cinema, 2012)… Regarding the role of the script in the movement of film history, a remarkable work is the book Writing a screenplay for a feature film by author Le Ngoc Minh (Cinema Association, Hanoi Theater Publishing House, 2006) The author gives general information and detailed proofs around the content: the five spectacular great leaps of world cinema art all started with the script or the focus of the screenwriters and directors In the studies on film screenplays, there are some opinions asserting that feature movie scripts are a special literary genre such as the opinion of former Soviet cinematographers, the summary of Author Doan Minh Tuan, words by Nguyen Thi Hong Ngat in an anthology of scripts Gambling, My Father and Two Women, The Moon on a Foreign Land (Literary work won the State Prize, National Association Publishing House literature, 2015) In particular, in the book Dictionary of Literary Terms (Le Ba Han - Tran Dinh Su - Nguyen Khac Phi, co-editor, Education Publishing House, 2013), the movie script is defaulted to a concept of category of literature However, all the opinions and judgments in the works just stop at the identification, have not studied deeply the script of the movie script to show that the movie script is the textual form rich in aesthetics, 11 reach the goal The main character has allies and has to face opponents He/she always encounters the obstacle system, the opponent character is also an obstacle Facing and overcoming opponents creates drama for the work The system of obstructions includes internal and external obstacles External obstacles such as weather (rainstorm, poverty, ), the character's own mistakes (lack of proficiency in certain skills, lost important files ); Internal obstacles are of the psychological and spiritual type, such as fear, jealousy, etc In Nguyen Quang Lap's scenario Sand Life, the journey to preserve the husband-wife relationship, the external obstacles of Mrs Thoa is the second wife (the character Tam), the inner obstacle is her inferiority when youth has passed, bringing with it the beauty of beauty as well as the ability to give birth 2.1.2 Dramatic level in a feature movie script 2.1.2.1 Screenplays for feature films and feature films are less compressed and less predictable than theatrical scripts Despite inheriting some elements from theatrical scripts, movie film scripts still have their own characteristics, originated from the difference between these two art forms: films’ space and time are freer than drama; films are more realism, dramas are more stylized description; film’s actions are closer to reality than those of drama All creates freedom in movie scripts In terms of characters, movie scripts can have hundreds, thousands characters; theatrical scripts are limited in the number of characters In terms of plot, stage scripts often emphasize dramas, actions, conflicts; movie film scripts have many ways of telling, ways that are not likely to create dramas Space and time in movie films are diverse and can be flexibly changed As a result, movie film’s scripts have more scenes than stage scripts 2.1.2.2 Movie script add non-plot elements, creating a slow narrative compared to theatrical scripts Minimizing lyrical extras, scene content of screenplays and films have two main components, dialogue and non-plot texts, with the function of describing/introducing the person's background object However, the main role of the stage script is dialogue, in contrast to the screenplay of a feature film mainly with descriptive sentences - describing the setting, characters, actions of the character The descriptions can making the tempo in the script of the feature film reduce the drama, the repression, and slow down the plot progression The script Let's cry (Minh Ngoc) and the screenplay for the film Moon at the bottom of the well (Chau Tho) were both adapted from the short story Moon at the bottom of the well (Tran Thuy Mai) is a prime example 2.2 Approaching life in the present unfinished tense or as an imprint of novel thinking in a movie script 2.2.1 The world is not finished Unfinished, unfinished worlds are a feature of novels and this often occurs in film screenplays - the end of the work is sometimes not a clear outcome, as if the 12 story unfinished, can suggest continuity In the last scene of Sand Life (Nguyen Quang Lap), Mr Canh stayed with Mrs Thoa However, that is still not a complete solution, compensating for all the characters… The unfinished feature movie script is also reflected in the fact that people can't have a final assessment of it yet, can act solve it in many dimensions, from many points of view In The Life of Pi (David Magee) there are two stories The choice to believe the story of Pi and the tiger or the story told to the Japanese in order to legalize the insurance procedure depends on the religious beliefs of each recipient 2.2.2 The nature of everyday life 2.2.2.1 Daily life character First of all, the characters in movie scripts are very diverse, with all kinds of people, all classes, social classes - leaders, rich people, poor people, salesmen, heroes, even Even those who are considered to be at the bottom of society… Second, each movie script is like a slice of unfinished life with characters whose fates are unknown In the scenario Rom (Tran Thanh Huy), the final ending is unknown for the people who love black and red games; the fate of the character Ghi - a "mother" who specializes in recording and returning the number of questions is left unresolved, and Rom (the main character) is also associated with the secret of fate Third, the characters of the feature film in particular, can be very complex; the character of the experience to grow up The innocent, dependent Thelma, after overcoming many difficulties, has become an independent woman and understands the value of life that lies in freedom in Thelma and Louise (Callie Khouri) The lives of screenplay/film characters may not coincide, the characters are multifaceted Jean-Baptiste in the script Scent (Patrick Süskind): to society, he is gentle; with the masters, he obeys and gets the job; but in fact Jean-Baptiste is a pervert who longs to maintain the fragrance of virgins, ready to kill people to try to distill them to retain the scent 2.2.2.2 Daily life dialogue The dialogue in the feature film not only shows the character's personality, but the style of the dialogue is also close to life This is the genre that has the voices of many classes in society - the voice of the most powerful person like the president, in Hanoi in winter 46 (Dang Nhat Minh); voices of the people at the bottom of society such as in Vu Dai village of that day (Doan Le), Cyclo (Tran Anh Hung) In addition, the dialogue in the movie script has a bold dialect character strokes For example, the Southern language in the Endless field (Puche language); Hue, Northern language in Girl on the River (Dang Nhat Minh); Southern and Central languages in Sand Life (Nguyen Quang Lap)… 2.3 Limits of exposure to real life and main trends of film screenplays 2.3.1 Dramatic trend The trend of dramatization is clearly shown in movie scripts that focus on dramatic elements and cause-and-effect logic The work is composed with the classic Hollywood three-act model representing this trend With a three-act model, every element in the scenario is often associated with a formula In 13 addition to the main climax, the screenwriter builds many secondary climaxes in the script to increase the attractiveness of the work Act I usually takes up 15% of the script/film space, Act II takes up 70% and Act III takes up the remaining 15% The main climax points are named by Hollywood cinema as follows: Catalyst - the background event, on which occurs the main event (big event) that pushes the character into the story, the event that pushes the character into the story without there is a way out (pinch), crisis - the character's crisis event (the character is faced with choices, in danger of failure), the final climax (showdown) - the character uses all his skills and experience in action your process to take action, make the final decision Act I ends at the big event, Act II ends at crisis Many successful American screenplays/films follow the 3-act structure as a divine model, for example: Gone with the wind, Kamer vs Kamer… In fact, the three-act model has very diverse variations For example, the flexibility of the percentage of capacity per act, there are scripts/films with the number of acts not stopping at Parasite by screenwriter Bong Joon-ho, Han Jin-won is an example The feature of the three-act model is to focus on the scene according to the strict cause-and-effect logic The script follows the three-act model, where even the scene unit is focused on building according to the dramatic three-act model: in the scene there is a "story", there is a beginning, a climax, and an ending that create the attraction of the actors work The connection between scenes according to the cause and effect logic in the script is very tight The script Thelma and Louise (Callie Khouri) is a prime example 2.3.2 The trend of novelization In addition to the classic three-act model of Hollywood, there are European cinema models, with French impressionism, French surrealism, Italian Neorealism, French New Wave, several film styles Asia… Hollywood independent filmmakers themselves are affected by these trends Experimental model with polylinear structure, breaking the annals of time; sensory film model, film without plot… appeared We temporarily classify these forms into the impressionist model, which consists of two sub-categories: impressionist mode of expression and mosaic type These types show the trend of novelization of movie scripts We note some of its characteristics as follows Blurring the main character - side relationship, not focusing on cause and effect logic The impressive model of a feature film screenplay does not necessarily have a main character, it is difficult to predict which character the main character in the script/film is For example, the script Father and son and by Phan Dang Di tells about a group of young people living in a transitional period, in Saigon Each character in the work has his own feelings, the link between the sparse destinies As a result, the factuality in the work is not promoted, and the causal logic in the work is fuzzy The logic of cause and effect is also mitigated within 14 each scene and in the association of scenes The content is not necessarily dramatic, even creating "atmosphere" is the main purpose The scenario Love and miss the countryside (Dang Nhat Minh) is an example Fragmentation of the plot The piece/piece model is based on comparison, association, and synthesis thinking when people face things and phenomena that are similar in some way Based on the puzzle pieces and associations, people will visualize the whole, and draw their own meaning We see this pattern in screenplays/films: Father and Son and… (Phan Dang Di), Three Times (Hau Hieu Hien), Crash (Paul Haggis) … Analytical thinking and impressive tactics Impressionist mode of expression allows to arrange artistic elements in different sequences to create emotions and feelings for the viewer towards a certain expression of the author Following this narrative are often sensational films Anonymous Eucalyptus Tree (Nguyen Quang Than), Adrift (Phan Dang Di) are written in an impressive expression Sub-conclusion of chapter Considered as the neighboring "younger brother" of theatrical art, born again in the era of novels, cinema absorbed in it the worldview imprint of both theater and novels First of all, movie scripts approach life in conflicts and contradictions It is also a mark of deep dramatic thinking in movie scripts The screenplay of a feature film with a core element of a "plot" still maintains in it the dramatic character that exists as a primary element of theatrical drama However, the dramatic level of the feature film screenplay has been slightly reduced compared to the theatrical script through reducing compression and estimation, increasing non-plot elements, creating a slow narration cobble Second, the screenplay for the feature film and film approach to life in the present unfinished tense, clearly shows the imprint of the novel thinking - the world in the movie script has not been completed, not yet finished; people and everyday language Third, in terms of life exposure limits and major trends, the screenplay of the film with the classic Hollywood three-act model represents the dramatic trend and the screenplay is written in an impressive model (including two sub-models: array of pieces, impressive modes of expression) clearly show the trend of novelization In terms of approaching life, movie scripts are closer to novel thinking; Modern movie scripts are trying to innovate the way they tell and express a more prominent novel's perspective Third, in terms of life exposure limits and major trends, the screenplay of the film with the classic Hollywood three-act model represents the dramatic trend and the screenplay is written in an impressive model (including two sub-models: array of pieces, impressive modes of expression) clearly show the trend of novelization In terms of approaching life, movie scripts are closer to novel thinking; Modern movie scripts are trying to innovate the way they tell and 15 express a more prominent novel's perspective Chapter MOVIE SCRIPT AS A COMMUNICATION MODEL 3.1 Communication object of movie script 3.1.1 Filmmaking community and target audience First of all, it should be re-emphasized that cinema is not only an art form, but also the world's most important entertainment industry The issue of the reviewer, the unit that buys the script is one of the factors that make movie scripts different from ordinary literary works The feasibility of a film project starts from reading and selecting the script The producer will consider whether the screenplay is attractive enough to attract the audience before deciding to buy Producers pay special attention to the issue of script ideas, which is also why movie scripts, especially commercial film projects, always require specific ways of summarizing the script succinct, enough key information and most attractive To best serve the script review process, the concept of Logline and Synopsis was born - two common types of script summaries that writers must write: Logline is a brief sentence that tells the story of the script Synopsis is a summary of the film's story content from to A4 pages (usually page) The screenwriter writes the detailed script (specific scenes) according to the templates (formats) so that the producer can base on that to make the film production plan Therefore, a screenwriter's detailed script needs to number the scenes, specify the context name, internal or external scenes and even describe the context very clearly for the filmmaking crew to find/design the setting The question goes further: what determines the success of the film? The deciding factor is the audience The audience is the key to making a truth in cinema: Those who know the taste, they are successful When writing and interacting with the script, both the screenwriter, the producer are all aimed at the audience, especially commercial films In particular, the screenplay for the feature film is deeply correlated with the people in the filmmaking crew The director is the person responsible for directing the execution of the film After receiving the script from the screenwriter, the director will modify the script to different degrees to suit his artistic intentions The edited script is given to the other members of the crew to their job - each department will make its own script: the art design script, the props script, the screenplay music score, editing script… Movie script is really a project for the whole system to read and work There are two possibilities: the writer writes the screenplay for himself as the director, and the screenwriter writes the script for someone else as the film director First of all, when screenwriters write scripts for others to make films, the script is both a work of art and a project for the team The script is usually written in a very easy-to-see format, where the director, deputy director, actors know where their work is Of course, the important thing is still a script with an 16 attractive/haunting story, impressive characters, reasonable events , inspiring the crew to continue composing on the basis of that script Screenwriters need to be clear: the language in the screenplay is not a language rich in imposition The "calling structure" of the script is essentially the problem: The script is a narrative proposition for the film In the second case, the screenwriter is also the director of the film, the communication model takes place between "me and me" We encounter this model in cases like Dang Nhat Minh, Phan Dang Di, Nguyen Van Thong The script written by Phan Dang Di is not as detailed and thorough as in the scenario Adrift (Bui Thac Chuyen Dao) to act) In this communication model, the creative "white space" seems to be larger, since the writer himself is in complete control of his or her own upcoming film 3.1.2 Free Readers Existing as a stand-alone literary work, a feature film screenplay has a certain free-reading audience In Vietnam, many domestic and foreign scripts have been published: Casablanca (Julius J.Epstein, Philip G.Epstein, Howard Koch, Young Publishing House, 2011), Train named lust (Tennessee Williams, Young Publishing House, 2011), Until October (Dang Nhat Minh, Thuan Hoa Publishing House, 2002) With the explosion of information technology, the Internet is the bridge that allows readers around the world to touch the scripts of famous films such as: Gone with the Wind (Sidney, Howard, Ben Hecht, David O Selznick, Jo Swerling, John Van Druten, 1939), The Godfather (Francis Ford Coppola, Mario Puzo, Robert Towne, 1972) There are scripts written for the sole purpose of reaching readers, such as Movie Script - Autumn's Appointment, The Wild Rock, The Sea of Salvation (Writers Association Publishing House,) by Vo Thi Hao, script Dry tears (Scenario collection Dang Nhat Minh, Thuan Hoa Publishing House) There are scripts that have not been filmed but still have the potential to be transformed into a meaningful film in the future like Old Elephant (Banh Bao) As the scripts were published in different formats, the script reading community became more and more open The script is now being circulated as a literary work, the status of "filmmaking project" is still imprinted in the script text, giving readers interesting impressions when receiving it 3.2 The expressiveness of the screenplay and the role of the author 3.2.1 Expressiveness of literary language The concept of "performative language" was proposed by linguist J.L Austin J.L Austin's most groundbreaking conclusion was not to contradict words with actions To him, "saying" means "doing" For example, the sentence “I promise to pay you” is not a description of a statement of fact, but a performance of a promised act; The narrative “The cat is on the mat” can be seen as a sober version: “by saying these words, I assert the cat is on the mat” Expressive in nature, literary language in general creates the appearance of a certain reality The expressiveness of language is the foundation for creating a system of literary images - objective and intangible images - but combined with the imagination, 17 association, perception of the reader, which exist as living entity The ideal life of a feature movie script is to be made into a film - it needs to be realized into a story told by visual materials through images and sounds In the movie script, there are many "instructions" for the filmmaking crew to find their work That is why we need to study the screenplay of a film as a particular expressive language 3.2.2 Expression in screenplay and feature film - a mode of mediating between script writers and readers Thanks to the expressiveness of the script, all the production team, investors, filmmakers envision the future film, clearly feel the atmosphere of the film (space, time and people) What specific activities are existing, how happy they are, etc.), from which they see how their tasks must be done Through descriptive language, dialogue, quotes and suggestions on filmmaking techniques, the work of choosing the setting, setting, acting, sound making, editing is carried out Even after the film is completed, readers who are free to read the script still have their own visualizations and imaginations Thanks to that, many adaptations and "remakes" were born, showing that each adaptation is a performance of an act in a feature film from a different angle The expressiveness of the script has given the imagination of readers different films 3.3 The generative nature of the movie script and the author's fate 3.3.1 The generative nature of movie scripts "Generativeness" is mentioned as a concept of linguistics that was initiated by researcher N Chomsky Inheriting the concept of "generative" in linguistics, based on the basis of the movie script built in the literary language, we refer to the generativeness of the movie script as a feature Substances can be changed, modified, omitted, inserted, replaced during the process of composing, writing scripts, putting into production and even being printed into works It is the process of non-stop scripting in order to create an entity that is most suitable for the filmmaking process, associated with the ultimate purpose of the script, which is to be filmed It can be affirmed that the script is a filmmaking proposal, it is always changed by the key elements of the crew From script to film is from the vision of the screenwriter to the vision of the director, from the linguistic narrative to the multimedia narrative 3.3 The generative nature of the movie script and the author's fate 3.3.1 The generative nature of movie scripts "Generativeness" is mentioned as a concept of linguistics that was initiated by researcher N Chomsky Inheriting the concept of "generative" in linguistics, based on the basis of the movie script built in the literary language, we refer to the generativeness of the movie script as a feature Substances can be changed, modified, omitted, inserted, replaced during the process of composing, writing scripts, putting into production and even being printed into works It is the process of non-stop scripting in order to create an entity that is most suitable for 18 the filmmaking process, associated with the ultimate purpose of the script, which is to be filmed It can be affirmed that the script is a filmmaking proposal, it is always changed by the key elements of the crew From script to film is from the vision of the screenwriter to the vision of the director, from the linguistic narrative to the multimedia narrative Screenplay for a feature film as a proposal for a film Screenplays for films can be written by one person or by a group of people; can be repaired or changed to different degrees - sometimes up to several dozen times - to suit production conditions, filmmaking budget, contemporary audience tastes From the script to the film, there can be a lot of changes, in fact it is a matter of the writer's point of view to the director's vision and handling Changing the script is very difficult to avoid when both authors are subjects with strong creative abilities It can be reduced to two cases as follows: First, the director is loyal to the screenwriter's script (very unlikely) Second, the screenwriter's script is just a suggestion, a suggestion - a common phenomenon when making films 3.3.2 The fate of the movie script writer First of all, a feature film screenplay is a type of open text - a writerly text, with plenty of room for reading and interpretation A script appeals to filmmakers as it makes it clear to them the possibility of intervening in the text itself From script to film is to "translate" the work from one sign system to another, and that always happens "slips", renovations, transformations All these things make The scriptwriter's language cannot be the language of imposition, but there are always "whitespaces" that invite creativity It is writerly text, what estheticians call texture beckoning To become a film, script writing needs a lot of resonance and collaboration Screenwriters are clearly a kind of "reduced author" Second, cinema is an entertainment industry, so the issue of "the name of a movie script writer" is sometimes quite complicated, always influenced by economic factors, teamwork, and methods The mode of buying and selling copyrights, adaptations, etc takes place dynamically in the world of cinema Sub-conclusion of chapter As the starting stage of the film production process - the process of blending art and economic factors, the screenplay for a feature film is a special communication model between the screenwriter and very special subjects enemies in the film production community, target audience, free readers… The first and foremost purpose of a feature movie script lies in its feasibility to become a film That affects the writer's method of composing in terms of both art form and ideological content - script sample, number of scenes, characters, events, narration, scene connection, rhythm script… and especially, the script with "expressive language", the nature of a kind of "interoperable text", ... Nguyen Quang Lap; Away time by Ho Quang Minh; American Beauty by Alan Ball; Some screenplays, TV series were also included in the survey to compare and contrast Research aims and missions 3.1... movies are very rich: American Screenplay Documents (John W Bloch - William Fadiman); Film and TV screenwriting techniques (R.Walter); Self-taught screenwriting (Ray Frensham); Methods of writing