quiz 11

Plot chronologies: Flashback and Flashforward

-Deviations from linear chronologies may lead viewers to an understanding of what is or what is not important to a story, disrupts realistic expectations Narrative flashback- one of most common nonlinear plot devices, story shifts dramatically to an earlier time in story. When a flashback describes the whole story, it creates a retrospective plot that tells past events from the perspective of the present or future Ex. Godfather part 2- alternates with the flashback story of his father many stories later. Compares history with present narrative flashforward: less frequent. leaping ahead to normal cause-and-effect order to future incident. May show a man in an office and then flash forward to his plane leaving an airport, then back to his desk other nonlinear plots: might interweave past, present, and future events in less predictable or logical patterns Ex. Hiroshima mon amour- nonlinear mix of a love story during WW2. woman in present tries to piece together her past that is blocked out by trauma while constructing her identity now

structure

- the order in which a story is told, or the ways the scenes are set next to each other to form a coherent film. Important in all films -three-act structure: most frequently used. beginning, middle, end beginning: introduce protagonists and antagonist -protagonist: the main character and the challenge he will face in order to achieve some specified goal -antagonist: often the challenge is personified in another character middle: main character needs to engage in actions that confront the antagonist and move in the direction of the goal -Well structured story- each action is more important and has higher stakes than the one before, but protagonist doesn't prevail yet (looks like antagonist will) end, third act: main character must confront greatest challenge, vanquish the the antagonist and achieve the goal that was described in act one: -character arc: Often resolution occurs in third act because protagonist realizes she no longer wants what seemed important in first act ex. Ex. wants fame in first act, realizes love is what matters in third -Last act is what audiences remembers most, if they fulfill their expectations, will have overall positive impression -Three-act structure closely follows form of hero's journey- hero often reluctant to take action to protect world, then when he begins adventure (second act) he is involved in series of battles and self-discovers. At this lowest point, hero suffers defeat but his spirit rallies and he is resurrected in the third act- engages in a final battle with antagonist and returns home hero in the three act structure 1. Beginning- set up, inciting incident. Turning point 1 at the end of it- hero engages in the problem 2. Middle- hero continues to rise to action, big twist. Turning point 2 at end of it- major setback "all is lost" 3. End- falling action. Climax, resolution, end scene

chapter essentials

-Film ideas may either be original or came from source material: they are intellectual property, and your creative rights and those of others must be protected and respected -Well-made films are well structured, weaving theme, plot, and character into a compelling narrative -Easily accessible software programs will make your script look like a script by helping with the program format -Development- the process of revising the script with stakeholders in the film- perfects the script and gets it ready for production

1900-1920s: Adaptations, scriptwriters, screenplays

-First movies showed simple moving images (like a train arriving at a station) and the images referred to a story behind them -Edwin S. Porter- adapted Uncle Tom's Cabin in 1903 in silent film era. His films were among first to use editing to shows stories -By 1906 movies were becoming predominantly narrative medium Economics of leisure time- industry recognized stories take time to tell and audience's willingness to spend time and money watching them. Most individuals went to movies to experience the novelty of "going to the movies" and spending time with friends -By 1913, directors realized they could attract larger audiences for larger amounts of time with more complex story lines (and could charge more than a nickel) Two important developments: introduction of screenplays and advancement of narrative dialogue through sound Screenwriters (script writers)- necessary with growing length of movies (silent films required less preparation). Created screenplay from original treatment or adapting short stories, novels, etc. Screenplay- Text which movie is made, includes dialogue and information about action, settings, shots. Standardized the elements and structures of movie narratives

1927-1950: Sound Technology, Dialogue, and Classical Hollywood Narrative

-Introduction to sound technology and dialogue in late 20s one of most significant advances Sound- enabled film narratives to create and develop more intricate characters whose dialogue and vocal intonations added new psychological and social dimensions. Could propel more complex movie plot -became fundamental shape of classic Hollywood narrative in 30s and 40s. Three main features- 1. Narratives focus on one or two central characters 2. Characters move linear plot forward 3. Action develops according to realistic cause and effect -Hollywood golden year- Gone with the Wind, Stagecoach, The Wizard of Oz. sound-era movies as modern-age myths -Introduction and advancement of specific movie technologies- deep-focus cinematography and technicolor processes- offered ways to convey and complicate narrative information provided by specific messages. Production Code in 1930- pressure from Motion Picture Producers and Distributors of America- determined the guidelines for what was considered morally acceptable to depict in films. Turned to more traditional literary plots that would be accepted like Pride and Prejudice 1938 and Wuthering Heights and 1939. Turned to writers like F. Scott Fitzgerald -WW2 jolted (stop) Hollywood classic narratives. The horrific events raised questions whether the classic narrative formulas with linear plots, clear-headed characters, etc, could capture the period's messier reality

character types

-Single trait or multiple traits may define character types. Can be physical, psychological, social -can be "villain" or "heartless career woman" -Can be subclassified into more specific terms "the damsel in distress" "the psychotic killer" archetype: a spiritual, psychological, or cultural model expressing certain virtues, values, or timeless realities. ex. character represents evil or oppression -Figurative types present characters as intentionally flat, without traditional depth and complexity of realistically drawn characters and often for a specific purpose stereotype: simplifies and standardizes perception that one group holds about another, often less numerous, powerful, or privileged groups

considerations for producers Marvel's Runaways (Hulu, 2017) What keeps people watching

-Teen characters relatable for audience -Plot and character developments -how power develops -complex relationships between characters -general conflict between teens and parents -waiting for teens to runaway -Waiting to find out what the parents are doing -relevant real world experiences -Good fit at Hulu

What kind of world building do "rom coms" do? AVENGERS remixed

-Tone- light, comedic (end of world not mentioned once) -Narrative expectations- people will fall in love, interpersonal relationships, happy ending -Character expectations- humorous misunderstandings, communication difficult -World expectations- set in real world usually, idea of "soulmates" etc. are real

What kind of world building does sci fi do? AVENGERS

-Tone- suspensful, thrilling, serious -Narrative expectations- plots revolve around discovery and expectation, super powers -Character expectations, often scientists -World expectations- artificial intelligence, time travel, advanced technology

writing and screenplay formats

-Writers often dislike writing, like "having written," but will procrastinate. It's lonely. often have writers block -Most screenwriters use softwares- Celtx, Script, Final Draft. Come with templates that automatically format for movies, TV, etc. How to start writing script 1. Pick title 2. Decide on theme 3. Write your log line 4. Write outline 5. Look at outline to see if structure works fade in- script starts fade out- script ends

FIlm Genres

-action -comedy -crime/ gangster -drama -family adventure -fantasy -historic/ epic -horror -melodrama- drama that is really emotional. Death and crime involved -romance -rom com -science fiction -thriller -war -western

ideas from others source material

-adapted screenplay: if your film story is based on something that someone else has created -source material: where it came from -books, magazines, newspapers -adapted screenplays are among most honored films in oscars- likely because the source material has already created a world where story takes place -films are objective, books are subjective. books- you hear everything from character's point of view. movies- you see it

key potential revenue streams

-advertising all have, including OTT FOR BROADCAST AND CABLE SERVICE -subscriptions not broadcast TV or basic cable. More for OTT services FOR PREMIUM CABLE NETWORKS AND OTT -content deals between cable and satellite provider ex. deal that comcast makes with a studio that created show. ex. Fox studios has content deal with netflix to show seasons of new girl

characters

-became major with intro of sound films in 1927 -central or minor figures who anchor events. can propel plot by character function- protagonist, antagonist, helper -complex characters motivate narrative events. their wishes/ fears lead to actions Classical film narrative: Hollywood's dominant style of narrative filmmaking in which characters' goals propel a linear plot towards closure Ex. Wizard of Oz- "go home" wish leads her through encounters and dangers and towards others. Dorothy is defined by emotional desire and will to go home and then persistence and resourcefulness to achieve goal -most characters are combination of ordinary and extraordinary features. blend of fantasy and realism- so we can look up to them and they are interesting

How do characters invite brand extension?

-beloved characters. their past and future Ex. everyone loved Iron Man, want to know what happened to him before or after Ex. Young Sheldon Ex. Phil- beloved Agents of Shield member -peripheral characters Ex. Agents of Shield. Alena Rodriguez "YoYo" in span of heartbeat can travel fast to distances then can yoyo back to where she is. She is peripheral, but people are still invested in her Gets her own 6-part digital series "Slingshot" which focuses on her

types of TV networks

-broadcast networks, 95% viewership -basic cable networks, 80% viewership -premium cable networks, 48% viewership -OTT services, 60% viewership

consider for producers: good writing!!!

-conflict -balance of fulfilling and subverting expectations, especially genre -compelling actors and cast -Interesting visuals (set, costuming cinematography) -Relationship to real world events, trends, concerns and anxieties

How do style/world invite brand extension?

-continuation of style ex. Garden of Galaxy has specific style of world -Extensive but not thoroughly explored world people want to see more of it ex. Game of Thrones- making movie to continue exploring historical world -desire to shift movie into another genre Ex. Daredevil on Netflix. superhero/ action TV but also crime thriller and legal drama

key concepts of screenwriting

-good movies start with good ideas -theme, story, character are building blocks of film -need to follow specific standard to writing screenplay -revising script may take many times

log line + "it's like"

-include "it's like" sentence after -a brief elaboration on the story that shows why someone will watch it Marvel's Luke Cage - In this Marvel live action series, a street fighting ex con battles a criminal network on the streets of NY as the superhero Luke Cage It's like the badass Harlem crime fighting of Shaft meets a hometown Avengers-style bulletproof superhero, for the small screen

log line often includes

-intended rating -genre -setting -protagonists -protagonist's goal -protagonist's conflict or antagonist -set up the story -LINE NOT A PARAGRAPH -should hook audience film: suggests completed story, with conclusion tv show: Isn't just about pilot/season 1, is about conflict that continues to propel your show for a long while

TV pitches also include

-length -time slot -network or OTT service

studio development cycle option and turn around

-option: (purchase) the intellectual property rights given in a work (screenplays, video gapes, etc.) which means the studio will pay a certain amount of money for the right to develop the project for a given period of time -turn around: when period of time for option is up, the studio must either purchase rights (which they will own forever) or let the option go, where the rights will go back to original owner -

original ideas

-originated by you. beginning of something, decide how to extend it based on audience and context. best come from own experiences -Beware of distinction of originality and copyright- if you are telling story from historical event, make sure it is no ideas are being drawn from other movies about it -can be difficult, brainstorm activities -advantages: not relying on other people's work, do not need their opinion. bring something new and fresh to audience

How do texts invite brand extension?

-plot -character -style/ world

Marvel's Inhumans (ABC, 2017) what kept people from starting to watch?

-poor marketing -poor costuming -Botched IMAX roll-out -Bad time slot why did people stop watching? -Bad CGI, sparse use of superpowers, poorly-done fight scenes -poor writing, dialogue -confusing conflict -genre confusion -Disconnect from the MCU/MEU -Little relevance and connection to contemporary issues

Classical film narrative tradition

-presents close relationship between individual lives and social history 1.Centers on one or more central characters who propel the plot with a cause-and-effect logic, whereby an action generates a reaction 2.Its plots develop with linear chronologies directed at certain goals, even with flashbacks are integrated into that linearity 3.It employs an omniscient or a restricted narration that suggests some degree of realism -three part structure -usually objective and realism Classic hollywood narrative: since 1910s, most films have followed it, associated with Hollywood studio system from the end of 1910s to end of 1950s, have been many historical and cultural variations on this narrative model Post Classical narrative: variation on classical narrative tradition- the form and content of films after the decline of the Hollywood studio system around 1960, including formerly taboo subject matter and narratives and formal techniques influenced by European cinema -after WW2, still exists -Frequently undermines the power of a protagonist to control and drive the narrative forward in a clear direction

key potential revenue streams- in show

-product placement see product visually in show but they don't talk about it ex. in class- doritos, pepsi, reebok -product integration integrated in narrative of show, talked about some way, demonstrated ex. Bones- prius, intelligent parking -strategic partnership funds are exchanged between companies in hopes that both will benefit ex. Studio may partner with network to produce content for certain number of years -sponsored content corporations want to sell product- more organic than product placement. many companies will partner with company to make additional content for show ex. pepsi and empire (fox). pepsi sponsors webisodes and includes new products ex. Hardees partnered with Rick and Mordy- additional scenes of show, advertise for Hardees

transmedia brand extensions- not all of them are successful

-some begin before movies are even in box offices -Lemony Snicket's A Series of Unfortunate Events- -first movie did not go as well as they wanted, sequel kept getting pushed off, then could not make movie because kid actors too old -fix: Neil Patrick Harris version on Netflix. was able to save franchise through extension -The Mortal Instruments- -novel very successful. 2013 movie not- lost money. franchised-out of many future things (pre-productions) fix: scrapped franchise. Brought it to TV- "SHadowHunters" on Freeform. Did well in first season always a push to make franchises. once someone has seen something, easy to get them to see additional things If you went to first Hunger Games film, more likely to see next one. Need far less marketing to become aware of it

brand extension

-take an established brand name from one piece of media or a franchise -and use it to create a new piece of media to increase viewership and profits -similar to transmedia franchise but not complete overlap examples Game of thrones- Started with book. Made prequel after show ended Jaws- a book, then many other movies A series of unfortunate events- started with a book, other books, then film, then netflix series

How does plot invite brand extension?

-unanswered questions Ex. Big Bang Theory. How did sheldon become this way? Extension- Young Sheldon -cliffhangers -unexplored backstory Ex. Avengers- answers some questions from previous movies (what happens when all of superheros get together?)

Making sense of film narrative

1. Describe the different temporal experiences of individuals -shape memory by this -approximate patterns and shape time Ex. the butler- follows his time as butler and intertwines his struggles with the major historical events surrounding him (civil rights, vietnam war). Interactions between his personal experiences and public cents celebrate how individual memory participates in shape of history 2. Reflect and reveal the shapes and patterns of larger social histories of nations, communities, culture -order past present and future the way history does -create perceptions to understand history -Extent to which public histories are bound together- many historical events, like the civil rights movement, become subject for narrative films -never functions independently of historical, cultural industrial issues ex. western culture films center on individuals and their fate. male heros

2018 world wide grosses for films

1. avengers infinity war (MEU) 2. black panther (MEU) 3. Jurassic World (from Jurassic Park) 4. Incredibles 2 (sequel) -most are brand extensions -people have idea of what they will see before

common but avoidable pitch problems

1. the show is already on 2. there is no conflict 3. the main character is vague or has no goal 4. the genre is unclear 5. It isn't clear what will get people to start watching or what will bring people back week after week - plot, character, how is the show tapping into issues that are relevant to audiences' daily lives, or why it appeals otherwise (spectacle, etc.), etc.

a writer's contract

A writer's contract- need to have a written legal document that clearly explains what everyone has agreed to -an option: an agreement to purchase something in the future. A producer might option a script- pays the writer over a certain period of time and has the right to buy the screenplay sometime in those months -Purchase price- what the writer will be paid to sell rights to the script -What happens if movie isn't made? -writing steps: writer may be paid for different steps- first draft, revision, etc. -Credit- if you are working with non-writers guild movie, contract should specify your writing credit and how you want to be credited on-screen, in posters, etc. -Rights- need to start that work is entirely your creation or you have been given the rights if it is adaptation -Sequels and remakes- may address whether you need to be offered the first crack at any projects based on original work

alternative film narrative tradition

Alternative film narrative: deviates from or challenges the linearity of classical film narrative, often undermining centrality of main character, continuity of plot, or objectivity of narration -foreign or independent films- reveal perspectives traditionally excluded. -Predominance and motivational control of characters in moving plot come into question. May put multitude of characters into play and their stories may not even be connected -many question classic narrative objectivity and ability to reflect true perspectives -new forms experiment, interrogate political assumptions

character development

Character development: the patterns which characters move from one mental, physical, or social state to another. often understood by the degree the change Ex. Juno- becomes about her own self-discover and meaning of love, family, friendship four general schemes: 1. external change: typically physical alteration. ex. grow taller or ages. can signal significant meaning with character ex. Devil Wears Prada Anne Hathaway 2. internal change: internal transformation ex. Slowly becomes bitter after experiencing hardships or becomes less materially ambitious after gaining more spiritual sense of world 3. progressive development: improvement/ advancement in some quality of character. ex. Devil Wears Prada she becomes more mature 4. regressive development: loss of or return of some previous state or a deterioration of previous state

1980s- Present

Contemporary movies- wide variety of narrative practices- three main ones 1. narrative reflexivity -tell stories, but more attention to how they are telling stories or how these stories are a product of certain narrative techniques and perspectives Ex. Adaptation 2002- film about screenwriter's struggles to adapt a New Yorker essay 2. roller-coaster like narratives soaring effects like an amusement park ride. Physical and psychological thrills -pirates of carribean or harry potter 3. Effects of video game and digital gaming -making films kind of interactive game for audiences. Constructing stories as interactive explorations of space. No longer depict a linear plot to simply follow Ex. Edge of Tomorrow- hero dies with alien invasion

Diegetic and Nondiegetic Elements

Diegesis: the world of the film's story (characters, places, events) including what is shown and what is implied - forces us to consider these elements of the story that the narration chooses to include or not include in plot and why they would be excluded ex. Lincoln- includes characters and events in explicit narrative. But also includes viewers' knowledge of other unseen figures and events from American history, including battles of Civil war and assassination Nondiegetic insert: insert that depicts an action, object, or title outside the narrative world. material that does not directly relate to diegesis and world- ex. background music and credits. affects how viewer views it -Diegetic soundtracks include sound sources that can be located in the story. Non Diegetic soundtracks commonly musical scores or noises where source is not found in story Ex. the Jaws music, unseen presence of shark, creates suspense credits: list at beginning or end of film of personnel involved in production. non diegetic element of narrative -Hollywood movies today open with names of famous stars, director, producers. Closing credits with secondary players and technicians -How information is presented, especially opening credits, can suggest ways of looking at stories and themes

fair use

Fair use: written in US copyright law, means that you can use parts of other works in certain ways the conditions under which you can use material that is copyrighted by someone else without paying royalties -Generally safe to do a parody or satire of other work, as long as it is clear that you are -Fair to quote short passages from other works when you are commenting on them

First-person narrative and narrative frames

First-person narration: single character using voice over commentary or to camera techniques effects that mark an individual's perspective -can create subjective view, the film frame re-creates what a single character sees for a limited period Narrative frame: designates a context or person positioned outside the principle narrative of film. Can help define a film's terms and means. Sometimes signaled by a voiceover, may indicate story's audience, social context, or period ex. the titanic

rights and title

Grant of rights: if you want base your film on a story someone else wrote, need to get permission and get permission -should be written down by both parties, can be very complicated -Important to have "all rights" in a project to make it a film and secure financing- right to make a movie, tv series, series of books, and anything else Chain of title: clear link between these true material and works that derive from it. "Title"- means the right to do the work. -series of documents that establishes ownership for all parts of movie process Ex. if you write a script, you own the title to it. If you give direct permission to make movie from your script, must also give director title to make movie. Emphasizes that the act of writing is the act of creating intellectual property. It is real and needs to protected

narrative space and locations

Historical location: the recognized marker of a historical setting that can carry meanings and connotations important to the narrative Ex. Roman Holiday- character's exploration of Rome, sense of human history emerges ideological location: place inscribed with distinctive social values or ideology in narrative. often political or philosophical significance. or gender Ex. 9 to 5- focuses on ways three working women transform gender politics in office Psychological location: important correlation between a character's state of mind and the physical place he or she inhabits a story Ex. Lost in translation- American actor experiences confusion and communication difficulties when visiting Tokyo. These and his isolation in his Tokyo hotel connect to deeper feelings of dissatisfaction Symbolic space: less common. Transformed through spiritual or other abstract meanings related to narrative ex. Cast Away- the island is a symbolic space of the absurdity of human condition -complex narratives often develop and transform significance to one or more places. the transformations central to meaning

intellectual property

Intellectual property: a legal term that means that creative works can be owned in the same way you can own a camera or phone When writing a script- make sure you can prove it is yours, in case someone tries to steal it -By either copyrighting or registering it with the Writers Guild of America (professional organization for screenwriters) Understand plagiarism- in order to prove it, must prove offender had access to your work, so keep careful records about who has access to your material. Possible that someone else comes up with same idea as you, many stories have common elements

linear chronology

Linear chronology: arrangement of plot events and actions that follow each other in time. logic/direction of plot follow central character's motivation. character pursues something and events follow it -Past actions generate present situations, decisions made in the present create future events ex. Ex. Trainwreck- Amy Schumer's poor choices lead away from desired goal but prove that romantic pair are right for each other- the ultimate resolution -usually beginning middle end -beginning and end's relationship is crucial. How a movie begins and ends creates relationship that can create a sense of closure or completion

desire to shift movie into another genre Neo-blaxploitation

Luke Gage. Marvel superhero show, also neo-blaxploitation -Focus on powerful black heroes, fighting crime, and overcoming systemic racism -Set in urban black communities -highlights struggles of black communities -heavily featuring soul and funk music every episode there is break from action from where he fights bad guys and then you are in club where there is funk/ soul musician and they just play a song.

narration and narrator

Narration: the telling of a story or description of a situation. The emotional, physical, or intellectual perspective through which characters, actions, events of the plot are conveyed. shapes how plot is revealed. central to understanding movie narrator: character or other person whose voice and perspective describe the action of a film, either in voice over or through a particular point of view

narrative films

Narrative: a story with a particular plot and point of view -literary tradition of storytelling that shows characters pursuing goals, confronting obstacles to those goals, and ultimately achieving some kind of closure

Reflexive, Unreliable, and Multiple Narration, complication films

Reflexive narration: calls attention to the narrative point of view of the story in order to complicate or subvert the movie's narrative authority as an objective perspective on the world Ex. About a Boy- main character comments reflexively on his own behavior as he pretends to be a father in order to meet women unreliable narration: raises questions about the truth of the story being told (often called manipulative narration) Ex. Fight Club- toward end of film becomes clear that the first-person narrator has been hallucinating the entire existence of a central character multiple narrations: use several different narrative perspectives for a single story or for different stories in a movie that loosely fits these perspectives together Ex. Crash and Babel- overlap multiple narratives around a city that are coincidentally linked by major events of characters' lives Complication films (anthology films): comprised of various segments, often by different filmmakers

BIG DIFFERENCE BETWEEN FILM AND TV CHARACTERS

TV characters stay static movie characters change

Third person Narrative: omniscient and restricted

Third person Narration: assumes an objective and detached stance toward the plot and characters by describing events from outside the story - can still describe a specific attitude or point of view- forceful and dynamic view Omniscient narration: presents all elements of the plot, exceeding the perspective of any one character. All elements of plot are presented from many or all potential angels. It knows all, knows what's important, knows how to reveal truth Restricted narration: limited third-person narrative. our knowledge is limited to that of particular character. focuses on one or two characters. assumes objectivity. able to present characters outside range of primary characters, but confined to experiences and thoughts of major characters -limiting narration allows the movie to attend to large historical events while prioritizing main characters Ex. the general- restricts plot to main character as he rescues his girl from from Union army in civil war

1950-1980: Art Cinema

WW2 challenged formulaic hollywood story and gave innovative art that emerged in Europe, Japan, India, etc. -new form- questioned cultural perspectives that existed before war. European art cinema experimented with new narrative structures- overturned classical narrative models featuring characters without clear direction, illogical actions, sometimes surreal events -Turned away from objective point of view of realist narratives to create more individual and personal stories

TV genres

a lot of them overlap -animated vs. live action old and computerized animations like lion king. many now being turned into live action -Serial, procedural, anthology serial: every episode of show is contributing to broader story being told procedural: every episode same group of character has different situations they deal with. Ex. Law and Order, every week is a new case (even procedural shows can have Serial elements) anthology: Fargo or Black Mirror. Fargo- Each season tells different story with completely different cast. Each season is self contained. Black Mirror- each episode is completely different cast of characters, set on different version of earth -action/ adventure agents of shield -drama Revenge -fantasy Game of Throwns -Police procedurals/ detective Law and Order -science fiction Agents of Shield -sitcoms Friends -soap opera- emotional, audience love of character ex. ex. Just got married, not to her love but to this twin brother. -telenovela Like soap opera, spanish language, structured differently -western cowboys -workplace drama Courtroom, legal, medical, police

The deadline structure

a narrative structured around a central event or action that must be accomplished by a certain time -adds tension/ excitement by accelerating the action towards certain moment, hour, day, year -the suspense and anticipation define the entire narrative and characters who motivate it ex. the graduate- must race to church in time to declare his love for Elaine to stop her from marrying rival

theme

big picture thesis that illuminates something about human condition and provides a universal takeaway for the audience. can be a statement or question ex. love conquers all, is it possible to be just a person in unjust world?, friendship matters more than money -two factors to keep audience attention: a character they can identify with and then a problem they face. do not have to likable, just relatable or understandable

medium specificity film

budgets, effects -have potential for much bigger budgets, gives you potential to have really nice effects. TV budgets cannot do this ex. Dr. Strange and Interstellar. advanced technology, layered effects, built big things Length: 1 hour 30 min- 3 hours characters: types and deep focus -types: "Sex worker with heart of gold" "nerdy misunderstood villain" the rock is always big guy but nice -deep focus: dig into character, complex, who they are as a person and why, a lot of potential for change -many start one way and end another way. point of film immersive viewing experience -Optimally- you will go to theater and watch in the dark -Get sucked into film and feel things in your own body

character coherence

consistency and coherence in character's behaviors, emotions, and thoughts. product of expectations. evaluated on three assumptions.. 1. values- coheres in terms of abstract values, such as when a character becomes defined through his or overwhelming determination 2. actions- acts out a logical relation between his or her implied inner or mental life and visible actions, as when a sensitive character acts in a remarkable generous way 3. behaviors- reflects social and historical assumptions about normal or abnormal behavior. Ex when we a fifth-century chinese peasant woman acts submissively before a man with social power -inconsistency may be poor characterization or intentional to challenge our understanding -Film characterization reflects certain historical and cultural values ex. hero is usually male

development

development: scripts are written, rewritten, with input from constructive writers, directors, actors, and producers. Purpose- to refine the script so that it represented as precisely as possible the plan for shooting -make several revisions 1. free to revise 2. Bad script never makes a good movie 3. It involves business matters and intellectual property rights, need to have written document

Narrative Duration and Frequency

duration: rely on patterns where events are constructed to different time schemes Ex. Die Hard: with a vengeance- shows a countdown to a bomb and the scenes leading up to it, way slower than real time -Call attention to difference between story time and plot time. Story events that take years may condensed for movie's plot Narrative frequency: the number of times a plot element is repeated throughout narrative. can be manipulated as important storytelling tool Ex- a narrative of investigation, crime may be depicted as many times as more pieces are put together

Why genre matters World building through tone and genre

genre creates.. -tone (emotion) ex. comedy- light, humorous, if serious things are happening- probably dark comedy ex. Ex. family drama- tone is serious -narrative expectations -character expectations ex. rom com since mid 2000s- male and female lead. Male lead is "man child" not grown up and female lead is too focused on work and uptight. She makes him more mature he chills her out -audience expectations of the world we live in

studio development cycle continued

involves close collaboration between writer and the executives developing the project -Initial meeting for pitch, several meetings after to discuss characters and story in depth Studio notes: written by studio executives if they want to continue with project after pitch. a road map for the writer to follow in a script revision Open assignment: the studio may decide to replace the writer, the first writer's contract is terminated, the assignment is open for new writer (happens on most films that get made) -most studios abandon projects. 80% are. takes years to develop. "Development hell"- often refers to studio development, knowing sense of the lengthy process. MOST SUCCESSFUL STUDIO MOVIES ARE BASED ON SOURCE MATERIAL OR SCRIPTS WRITTEN INDEPENDENTLY BY WRITERS. VERY FEW START AS PITCHES. In contrast- most TV series start as pitches

desire to shift movie into another genre neo-noir

jessica jones on Netflix. Marvel superhero show. Also detective show and neo-noir dark tone stylized and shadowy lighting blurred lines between right/wrong and good/bad themes of alienation, paranoia, and betrayal

log line

log-line: one sentence summary of a movie's story. Ex. if your friend asks you "what was the movie about?" it would be your response. Describe main characters and what they will encounter in less than 30 words -See them on services- Netflix, itunes, Hulu 1. main characters 2. character's context, where they find themselves at beginning of story 3. Inciting incident: what triggers the story 4. what's going to happen

medium specificity youtube series

much smaller budgets length: 5-10 min. very different story telling not beholden to network or advertisers -some exceptions: Empire and Pepsi webisodes ex. Guild-show about gamers excessively playing World Craft. Women emerged in gaming. Written, created, directed by women ex. Marble hornets-horror show on "slender man" turned into alternate reality game. Every week post a video and the things happening to characters would actually be happening on twitter. ex.Adventures of Awkward Life Girl- adventures of awkward black woman- dating, etc. created by women of color. Written specifically because wasn't seeing roles for women in color. This let them be normal people (not magical or problem-solving) ex. Her story- two trans women looking for love in LA these things could not be shown on normal broadcasting!!!!!

the pitch

need to communicate.. -genre importance -when a ruthless killer begins to murder people in a small town, a paperboy realizes the victims are all on his route and he's the only one who can stop the killer DRAMA/ KILLER -when folks begin to turn up dead on his route, a paper boy realizes he's the only who can stop the killer. special delivery! DARK COMEDY -main characters -main character's primary goal -the main conflict

character depth

pattern of psychological and social features that distinguish a character as rounded and complex, approximates realistic human personalities. deepen the dimensions of a complicated personality Protagonists: characters identified as positive forces in a film Antagonists: characters who oppose protagonists as negative forces in a film Minor characters (secondary characters): surround, contrast, support the protagonists and antagonists, usually associated with specific character groups Social hierarchies- class, gender, race, age, etc. come into play in the arrangements of film characters -traditional movies focus on male protagonists and heterosexual pairings -typical hierarchy- children and elderly individuals in subordinate positions Ex. Gone with the Wind- subordinates African Americans to whites -When social groupings are more important than individual characters, the collective character of the individuals in the group is defined primarily in terms of the group's actions and personality

studio development cycle pitch

pitch: a meeting which the writer tells the firm's story. Sometimes studio buy it based off this -Short pitch- may be given over phone by writer's agent or producer, 2-3 minutes long, enough to determine if there is interest -Long pitch- given in person by the writer, 15-20 min, gives whole story of the film -Few pitches ever get made into finished movies, but studios still buy them occasionally, especially from established writers with pre-existing relationships with studio or if it based on recent event script submissions: Many studios do not even look at them, send letter back stating their policy of not accepting submissions. Studios accept submissions only from recognized entertainment agents or attorneys because they understand the business practices with will counsel writers not to pursue unfounded plagiarism claims -there are teams who go through, see if it fits studio needs -story analysts: read projects and write coverage- brief summary and commentary on each project. When executives decline a project, they "pass it on" MOST DECLINED OR TOO MUCH MONEY TO COMMIT -If executives believe project should be acquired by studio, they will pitch the project to opper management

basic screenplay format

screenplays do not include background sound, editing (and timing), how the camera is framing the people on screen, costumes Ex. Avengers movie- Scarlett Johanson is sexualized throughout the scene, does not include any of that in screenplay slug line/ screen heading: every time you switch location or time, so people will know where they are ex. Ex. "Russia, Solenski Plaza, 3rd Floor, Night" description/ action of scene: what we see. describes location character names: all caps above dialogue

medium specificity tv

smaller budgets, fewer effects -some do really good job with effects, some don't ex. The walking dead- nominated for a lot of awards. Sometimes not as good- towards end of season, had random dear in screen ex. Brand extension of the walking dead (spin off/ prequel): yacht looks really computerized serialization -Can film hundreds of hours with continuation of original story. Story needs to hold up at least into a second season conventional length: 30 min comedy or 1 hour drama characters -robust, backstory -Static, or change very very slowly. different from Movie usually has character arc -People feel very connected to characters. ex- the guy from Breaking Bad gets progressively worse. But people love him over time so still like him. Example- Big Bang Theory Sheldon -like characters to stay somewhat consistent, have consistent catch phrase Immersion vs. marination -unlike movie, see it in little packages -Audience can sit and wonder- okay this happened last week, what will happen next week? Cliff- hangers. How will things resolve? Think more about show in daily life, feel more connected to it -TV less immersive- majority of it has commercial breaks. Often doing other things when watching TV

Parallel plots

the implied simultaneity of or connection between two different plot lines, usually with their intersection at one or more points -alternate between actions/ subplots happening at same time and may be bound together in some way, like a relationship ex. Ex. Jerry Maguire- Jerry's effort to succeed as agents in sports and same time follows his romance with Dorothy and her son

Screenwriter's role in TV

there is writing room- filled with writers. collaboratively working on episodes together staff writer: read other people's scripts and give notes. do not get credit story editor: contracted writers. write a lot of script for shows. script goes to writer's room and gets workshopped. they get the credit freelancing: writer not associated with show submits spect script (hope show likes it). two episodes per season they allow staff writers to submit scripts, then they will get credit ex. Lina Maithe wrote an episode for Master of None. it won an emmy show runner: mix of lead writer and executive producer. hold creative control of show- it is based on their vision - "Show bible"- all the writers can use to make sure they are working off of same back story and appropriate capturing story Ex. Shonda Rhimes- wrote and became producer of Greys, Scandal, etc.

Screenwriter's role in film

writing on spec: writing speculative screenplay. speculate who will gain money from it. hope someone buys it writing under contract: more likely for established writers. studio or producer will get writer under contract to write particular film. Producer might have original idea and hire screenwriter to write it for them rewriting: studio will get script on spec someone. Rare that script is untouched. Studio adjusts it