Strangelove Kubrick, 117Dr.
Trang 1drawing out, 133–134
physical, 132
positioning, 128–129
research in, 134–135
in short film, 127
singular qualities, 133
tragedy in, 138
Characters, 5 See also Antagonist;
Main Character; Protagonist;
Secondary Characters abstraction of, in experimental
narrative, 208–209 appearances and, 43–44
behavior defining, 39–40
believable, 135–136
comic, 137–138
complexity in, 136–137
describing, 43
dialogue and, 143
in docudrama, 172–173, 179
docudrama case studies in,
182–183
in dramatic strategies, 121
drawing out, 133–134
experimental narrative case
studies in, 216–218 finding, 44
flat, 127
habitual behavior and, 37–39, 60
in hyperdrama, 189–190, 197
hyperdrama case studies in, 201
images and, 22–23
intentional/energized, 133
interactions, 45
melodrama case studies in,
166–167 objectives of, 160–161
polarity, 91
positioning, 127–128
qualities of, 90
rounded, 127
singular qualities of, 133
in Thelma and Louise, 38–39
tragic, 138
voice and, 65–67
Chayevsky, Paddy, 117
Chicago Hope (television), 154
Un Chien d’Andalou (Buñuel and
Dali), 2, 205
A Children’s Story (Justice), 153,
154–155 plot in, 167 structure in, 166–167 tone in, 167
Chinatown (Polanski), 11, 41
revisions of, 82 screenplay shorthand in, 40–41 voice in, 65–66
Chungking Express (Wong Kar-Wai),
207, 209 CILECT, 3–4 Cinema verité, 171, 174, 176
Citizen Kane, 144
comedy in, 81
The Class of ‘75 (Dancyger), 32
Clement-Ferrand Festival, 3 Climax
in dramatic strategies, 124 identifying, 54–55
strategies for, 93
A Clockwork Orange (Kubrick), 130,
188, 191 Close-ups, 104 Cocteau, Jean, 18, 20, 22 condition of, 76
on images, 17 Columbus, Chris, 3 Comedy, 96–97, 114
in characterization, 137–138 definition of, 116
melodrama and, 81 Commercials
short film and, 230 Communication, 89
The Company of Wolves (Jordan), 189
Complexity
in characterization, 136–137 Conflict
in dramatic strategy, 120–121 Contemporary issues
in docudrama, 174
in hyperdrama, 192
in melodrama, 156–157 Context, 69–70
Trang 2Cooper, Pat, 29, 62, 70
Copenhagen (Frayn), 153
Coppola, Francis Ford, 102
Craig, Laurie, 14
Creative solutions
in dramatic strategy, 124–125
Cries and Whispers (Bergman), 26
Crimes and Misdemeanors (Allen), 162
The Criminal Mind of Archibald Cruz
(Buñuel), 188
The Crying Game (Jordan), 102
Culloden (Watkin), 173
as docudrama case study, 175–177
Cuts
in second drafts, 82–83
Dali, Salvador, 2, 117, 205, 207
Dallas (television), 225
Dancyger, Ken, 32
Dangerous Liaisons (Hampton), 28
screenwriting in images in, 24–25
Dante, 208
Dash, Julie, 206
Daughters of the Dust (Dash), 206
David Holzman’s Diary, 115
Davies, Terence, 206
Dead Letters Don’t Die (Granofsky
and Swanhaus), 45,
201–202, 257, 323–343
dialogue in, 68–69
Dead of Night, 4
Deardon, Basil, 4
Death of a Princess, 174
Demme, Jonathan, 224
Deren, Maya, 2
Dialect, 143
Dialogue
as action, 70–72
characterization and, 142, 143
cutting, 83
as dramatic action, 69–70
as exposition, 68–69
intensifying tension with, 145
narration and, 146–147
plot and, 143–144
purposes of, 142–143
realism and, 148
relieving tension with, 146 revising, 74
in short film, 141 silence and, 147–148
as transition, 144 Digital video, 225 short film and, 231–232 Direct cinema, 171 Disney, Walt, 2
Distant Voices, Still Lives (Davies), 206
Distinct style
in experimental narrative, 206–207
Divine Comedy (Dante), 208
Docudrama, 114 actuality in, 172 author’s voice in, 174–175 character case study in, 182–183 contemporary issues in, 174 definition of, 115
documentary and, 179–180 goals in, 179
history of, 171–172 main character in, 173 main character in short film, 181 main character’s relation to plot
in, 180 motifs in, 175–178 place and time in, 172–173 place case studies in, 183 plot case studies in, 183–184 plot in, 173–174
plot in short film, 181 structure of, 180–181 structure of, in short film, 182 style in short film, 181 time case study in, 184 tone case studies in, 184–185 tone of, in short film, 182 writing devices for, 178–179 Documentary
docudrama and, 179–180 short film and, 228–229 Dogma 95 films, 172
The Double Life of Veronique
(Kieslowski), 206, 209 Dovschenko, Alexander, 205, 208
Trang 3Dr Strangelove (Kubrick), 117
Dr Zhivago (Lean), 157
Drafts
cutting inessentials in, 82–83
first, 78
Malamud, Bernard, on, 79
second, 80–81
third, 84
Drama
framing, 114–115
origins of, 47
Dramatic action
of antagonist, 54
Aristotle on, 48
dialogue as, 69–70
as motif, 158
of protagonist, 53–54
resolving, 54
Dramatic arc
as motif in docudrama, 176,
177–178
as motif in experimental
narrative, 211, 213–214
as motif in hyperdrama, 194,
195–196
as motif in melodrama, 158,
159 Dramatic core, 121–123
Dramatic strategies
character in, 121
climaxes in, 124
creative solutions in, 124–135
endings in, 124
energy in, 125
idea behind, 113–114
insight in, 125
middle in, 124
plot points in, 123
tone in, 119–120
voice in, 119
Dramatic strategy
beginnings in, 123–124
conflict in, 120–121
polarity in, 120–121
A Dry White Season (Palcy), 154
Duck Soup (Marx Brothers), 187
Duvall, Robert, 131
Earth (Dovschenko), 205 East of Eden (Kazan), 156
Eastwood, Clint, 11, 102
Eclipse (Ruscio)
tone case studies on, 218 Education, 225
storytelling and, 89–90
Edward Munch (Watkins), 173
Egoyan, Atom, 163, 206, 207, 209, 231
Elder, Bruce, 3 Elliot, Ayanna, 167 Embrechts, Gert, 227, 233, 235 Emerling, Susan, 257, 308
Empire of the Moon (Haptas and
Samuelson) place case studies in, 217
Encyclopedia Britannica, 63
Ending
in dramatic strategies, 124 identifying, 54–55
Enemies: A Love Story (Mazursky),
156 Energized characters, 133 Energy
in dramatic strategy, 125
The English Patient, 154
Enrico, Robert, 20, 144
ER (television), 154, 225 Escape from Alcatraz (Siegel), 62
Eszterhas, Joe, 132
E.T (Spielberg), 188 Everyday Except Christmas
(Anderson), 171
Excalibur (Boorman), 189, 190, 192,
198
Exotica (Egoyan), 163, 207, 208, 209,
216, 231 Experimental film short film and, 229–230 Experimental narrative author’s voice in, 209–210 character abstraction in, 208–209 character case studies in, 216–217 character use in, 215–216
definition of, 205 distinct style in, 206–207
Trang 4Experimental narrative (Continued)
intellectual concepts in, 208
linkages to other arts in, 207–208
motifs in, 210–214
nonlinearity in, 206
patterns in, 209
place case studies in, 217
poetry and, 215
ritualized tone in, 209
simple ideas behind, 215
story types benefiting from,
214–215
structure case studies in, 217–218
structure in, 216
tone and voice in, 216
tone case studies in, 218
voice case studies in, 218–219
Exposition
dialogue as, 68–69
Exterior narration, 147
Extreme long shots, 104
Fable, 114, 229 See also Fairy tales;
Myths
definition of, 117–118
realistic dialogue in, 149
The Fabulous Baker Boys (Klove),
156
Fairy tales, 10–11 See also Fables;
Myths
adapting, 49–50, 62
choosing, for adaptation, 63
hyperdrama and, 198
“Fall guy” idiom, 98
Fantasy
in hyperdrama, 191
realism v., 93–94, 149
Feedback
getting, 83–84
Feeling, 13
Fellini, Federico, 3
Ferguson, Larry, 102
A Few Good Men (Reiner), 102
Film
character positioning in, 129
first-person positioning in, 129
inherent qualities of, 102–103
second-person positioning in, 129–130
storytelling in context of, 101–102 First drafts
Malamud, Bernard, on, 79 writing, 78
First Knight (Zucker), 198
First-person positioning, 128
in film, 129 Flaherty, Robert, 171 Flat characters, 127 Fleming, Victor, 189
For Whom the Bell Tolls, 174
Ford, John, 157 Formalism
in hyperdrama, 191 Forman, Milos, 156
Forrest Gump (Zemeckis), 188, 190, 199
moral lessons in, 188 Forster, E.M., 9, 102, 127 Forsythe, Frederick, 94
Four Little Girls (Lee), 224
Framing genre and, 114–115 Frankenheimer, John, 189, 192 Frayn, Michael, 153
Friedrich, Su, 206, 208 Gangster film, 114
Gare du Nord (Rouch), 13–14
Gender, 143
Genesis and Catastrophe (Liebesman),
227 Genre, 10–11 framing and, 114
Get On the Bus (Lee), 224
Giler, David, 102 Goals, 91
character, in docudrama, 179
in hyperdrama, 197
as motif in docudrama, 175, 177
as motif in experimental narrative, 210, 212–213
as motif in hyperdrama, 193, 195
as motif in melodrama, 158, 159
in short film hyperdrama, 200 Godard, Jean-Luc, 3, 4
Trang 5The Godfather Part 1, 190
Goffman, Ervin, 43
Going to Work in the Morning from
Brooklyn (Messina), 11–12
Goldenberg, Matthew, 83, 226,
233, 241 Goldman, William
on screenwriting, 56
Granofsky, Anais, 201, 202, 257, 323
Grease Monkey (Craig), 14–15
Green, Anthony, 101, 233, 249
Griffith, D.W., 1
Grimm’s Fairy Tales, 63
Guest, Judith, 153
Habitual behavior
character and, 37–39, 60
Hampton, Christopher, 24, 28
Haptas, John, 217
Harwood, Ronald
on screenwriting, 32
Hemingway, Earnest, 91
Herzog, Werner, 188, 191
High Noon, 31
Hill, Walter, 102
Hills, Rust, 5, 47
Hitchcock, Alfred, 103
Hochschule, 3
Hoffa (Mamet), 102
Holland, Agnieszka, 102
Hopkins, Anthony, 132
Horror film, 114
“The Hospital” (Chayevsky), 117
How Green Was My Valley (Ford), 157
Howard’s End, 102
Huffman, Michael, 165
Hurbis-Cherrier, Katharine, 217
Hurbis-Cherrier, Mick, 217
Huston, Angelica, 157
Hyperdrama
antagonist case study in, 201
author’s voice in, 191–192
catalysts in, 199
character case study in, 201
character in, 189–190, 197
contemporary issues in, 192
definition of, 187
fairy tales and, 198 fantasy in, 191 formalism in, 191 goals in, 197 goals in short film, 200 main character in short film, 200 moral lesson’s centrality in, 188–189 motifs in, 192–196
plot case study in, 202–203 plot in, 190, 197–198 plot in short film, 200 plot structure in, 190–191 realism in, 189
ritual in, 190–191 structure in short film, 200–201 structure of, 198–199
style in short film, 200 superheroes in, 197–198 tone case study in, 202–203 tone in, 191, 199
tone in short film, 201 writing devices for, 197–199 Idioms
fall guy, 98
in storytelling, 98 Images
character and, 22–23 Cocteau, Jean, on, 17 juxtaposition of, 103 utilizing, 76–77
Incident at Owl Creek (Enrico), 20,
22, 48, 127, 131 dialogue in, 144 dramatic core of, 121 image and situations in, 23–24 Insight
in dramatic strategy, 125 Intellectual concepts
in experimental narrative, 208 Intentional characters, 133 Interactions
character, 45–46 Interior narration, 146–147 Interviews
conducting, 67–68
It’s a Wonderful Life, 192
Trang 6It’s Not Just You, Murray (Scorsese),
3
I’ve Heard the Mermaids Singing
(Rozema), 206
Ivory, James, 102
Jackson, Michael, 223
Jansco, Miklos, 206, 207
La Jetée (Marker), 206, 207
Jokes
in storytelling, 96–97
Jordan, Neil, 102, 188, 189
Journey structure, 114
definition of, 118–119
examples of, 11–13
Judith of Bethulia, 1
Julius Caesar, 118
Justice, Graham, 153, 154, 167
Juxtaposition, 103
Kazan, Elia, 39, 156
on character, 128
Kershner, Irvin, 156
Khouri, Callie, 37
Kieslowski, Krystof, 206
Kill the Director (Mandel), 184–185
Klove, Steve, 156
Kopple, Barbara, 3
Kramer vs Kramer (Benton), 154
Kubrick, Stanley, 117, 188, 191
Kusama, Karyn, 216, 257, 297
Kusturica, Emir, 188
The Lady in Waiting (Taylor), 41–42,
67, 165, 166, 257, 271–276
structure in, 166
tone in, 167
Lamorisse, Albert, 21–22
Land and Freedom (Loach), 174, 175,
179
motifs in, 177–179
Langer, Susanne, 13
Last Supper (Boxer), 226
Lauzon, Jean Claude, 189
Law, Clara, 210, 214
Lawrence of Arabia (Lean), 157
Lean, David, 157
Leaving Las Vegas, 161
Lee, Spike, 102, 163, 223, 224
Legend (Scott), 191 Leolo (Lauzon), 189
Lester, Richard, 3, 207 Letter writing, 75 Liebesman, Jonathan, 227
The Lion King, 189 Little Red Riding Hood, 108
Loach, Ken, 172, 174, 175, 179 Location, 34
exploring, 77 sound and, 35 Lodge, David, 59 Logan, Joshua, 198
The Loneliness of the Long Distance Runner (Richardson), 156, 173
Long film short film v., 4–6 Long shots, 104 Lorentz, Pare, 2
Lorenzo’s Oil (Miller), 101, 155 Loving (Kershner), 156
Lucas, George, 3, 131, 228
Macbeth, 118 Mad Max (Miller), 198 Magnolia (Anderson), 231
Mailer, Matt, 182
Main character See also Characters;
Protagonist antagonist and, 131–132 definition of, 105
in docudrama, 173
as motif in docudrama, 175, 177
as motif in experimental narrative, 210, 212–213
as motif in hyperdrama, 192–193, 195
as motif in melodrama, 158, 159 narration by, 130
objectives of, 160–161 plot and, in docudrama, 180 plot used against goals of, 161–162 positioning of, 129
secondary characters and, 130–131
Trang 7in short film hyperdrama, 200
in short film melodrama, 164
struggle of, in melodrama, 155
Main conflict
definition of, 48
Makiewicz, Joseph, 153
Malamud, Bernard
on first drafts, 79
Malcolm X (Lee), 102
The Maltese Falcon, 11, 41
idioms in, 98
Mamet, David, 102
A Man Escapes (Bresson), 62
Man of Aran (Flaherty), 171
Man With a Movie Camera (Vertov),
171, 205 Manchevski, Milcho, 216
Mandel, Geoffrey, 184
Marathon Man, 56
Marat/Sade (Brook), 208
Marker, Chris, 206, 207–208
Martinez-Zaldivar, Juan Carlos,
200, 202 Marx Brothers, 187
Master scene format, 107
example of, 110–111
Mazursky, Paul, 156
McKelwee, Ross, 3
McLaren, Norman, 3, 118,
121, 205 McLean, Norman, 102
Medium Cool (Wexler), 171
Melodrama, 114
adaptability of, 155–156
character case studies in, 166
comedy and, 81
contemporary issues explored in,
156–157 definition of, 153
main character in, 155
motifs in, 158–159
as multi-genre, 157
objectives in, 160
plot case studies in, 167
plot used in, 161–162
psychology explored in, 156
realism in, 153–154
relationships as story elements in, 154–155
resolution in, 162–163 structure case studies in, 166–167 structure in, 163
summation of, 168–169 tone case studies in, 167–168 triangulation in, 161
writing devices for, 160–163 Mercer, David, 117
Merchant, Ismail, 102
Meshes in the Afternoon (Deren), 206
Messina, Philip, 11 Metaphor, 229 sound as, 31–32 Middle
in dramatic strategy, 124 Miller, Arthur, 153
Miller, George, 101, 155–156, 198 Miller, Rebecca, 4
Minghella, Anthony, 154
The Mirror (Tartovsky), 206
Mix, Tom, 11 Mockumentary, 114 definition of, 115–116
Modern Times (Chaplin), 11, 187 Momma Don’t Allow (Reisz and
Richardson), 171
The Money Shot (Mailer), 182–183
Morahan, Christopher, 156 Morality tale, 114
centrality of, 188–189 definition of, 118 Morris, Errol, 117 Motifs
in docudrama, 175–178
in experimental narrative, 210–214
in melodrama, 158–160
in Priest, 158
Mulligan, Robert, 154
The Mummy, 225 Music Box (Eszterhas), 132
My Name is Rabbit (Rosthal), 153
character in, 166
My Own Private Idaho (Van Sant),
160