tailieunhanh - Writing the short film 3th - Part 22

Writing the short film 3th - Part 22. 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. | Characterization Strategies 137 achieved. Neither film employs a realistic tone. To put it another way the antirealistic impulse to fantasy runs freely in the narrative. How else can we explain the devotion of these two men to a wardrobe Or that the balloon takes on more human characteristics than many of the humans in The Red Balloon Realism suggests that a balloon can t be human and that slavish devotion to a wardrobe is either extreme anxiety or sheer madness. An antirealistic approach on the other hand tolerates the humanized balloon and the devotion to a dresser. When a balloon becomes the stand-in for a human the discovery of the little boy in each of us is not far behind. Fantasy in the plot is the first prerequisite in creating a character who is both a type and an archetype. A second prerequisite for the creation of an archetype is to frame the story in a genre that favors such a use of character. Satire the fable and the morality tale all use character in such a way that an archetype is very useful in supporting the core idea. Finally the catalyst that begins the plot can be a tool in creating an archetype if it is an event with which the audience can readily identify the delivery of a letter mailed four years earlier from a post office seven blocks away the arrival of a draft notice the traffic gridlock that prevents the character from arriving for the job interview or the long-anticipated date of the semiformal. All of these catalytic events create a situation each of us can identify with. What is the advantage of creating a character who is both type and archetype Essentially there is the layer of complexity arising from the kind of identification the viewers have with the situation of the character. When an archetype is created the space for symbolism becomes even greater and consequently the meaning of the film can be more layered than is first apparent. We turn now to the two extreme forms of complex characters the comic character and the tragic .