tailieunhanh - Writing the short film 3th - Part 4

Writing the short film 3th - Part 4. Cuốn sách này chủ yếu giúp tham khảo về phương pháp viết kịch bản, phim ảnh, video và các nhà làm phim video - những người đang phải đối mặt với sự cần thiết của việc viết một kịch bản tường thuật ngắn sao cho hay, mạch lạc, nội dung phim được truyền tải hết đến người xem. | Storytelling in General 11 animals or magical objects. In both feelings and thoughts are externalized and given substance which is undoubtedly why mythmaking of a sort has been an important part of narrative filmmaking from its early days until the present. Just as oral myths and fairy tales changed over the years in the process of being passed from one storyteller to the next so the myths in genre film have gradually been transformed by writers and directors. It can be instructive to trace the line of descent from a one-dimensional hero like Tom Mix in crude early Westerns to the comical reluctant hero played by Clint Eastwood in Unforgiven or the gradual transformation of the pint-sized innocent played by Charlie Chaplin in Modern Times struggling with a machine as ruthless and powerful as any giant into the scrawny sophisticate played by Woody Allen in Annie Hall trying to master an evil-looking lobster or the evolution over the years of the rigorous if unconventional code of honor of privateeye Sam Spade in The Maltese Falcon to the code of resolute self-interest practiced by private investigator Jake Gittes in Chinatown. In most cases the archetypal form of the story remains while the meaning of the underlying myth changes in response to the pressure of changes in society. To reflect such changes successfully screenwriters need to be familiar with the classic films of the genre in which they choose to work. This is as true of writing parody a favorite of film students as it is of using any other style that deals with inherited material. It happens that the two structures that have proved most useful in shaping material for a short screenplay are those considered by scholars to be the very oldest of narrative forms the journey and what we call the ritual occasion. If you have a main character clearly in mind and a good idea of what that character s situation is and of what it is that he or she is after you can often get a script off to a good start simply by .