Có 20+ tài liệu thuộc chủ đề "kịch bản phim"
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KỊCH BẢN VĂN HỌC ĐIỆN ẢNH TRONG MỐI QUAN HỆ GIỮA VĂN HỌC VÀ ĐIỆN ẢNH. Trong mối quan hệ giữa văn học và điện ảnh, kịch bản phim và nhà biên kịch chính là chiếc cầu nối. Kịch bản phim trước hết là kịch bản văn học, nhà văn hoặc đạo diễn cũng có thể là nhà biên kịch....
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as motif in docudrama, 176 as motif in experimental. narrative, 212, 214 as motif in hyperdrama, 194 as motif in melodrama, 159,. as motif in docudrama, 176, 178 as motif in experimental. narrative as motif in hyperdrama,. as motif in melodrama, 158–159. short film and, 230–231 Nonlinearity. in experimental narrative, 206 Notes on the Cinematographer. in melodrama, 160–161. in docudrama,...
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This book is printed on acid-free paper.. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.. Permissions may be sought directly from Elsevier’s Science &. [email protected]. You may also complete your request...
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FM.qxd PM Page vii. viii Writing the Short Film. FM.qxd PM Page viii. At New York University, I’d like to thank Christina Rote and Delliah Bond, who assisted me in the preparation of the manuscript. Finally, I’d like to thank my wife, Ida, for her intelligent critiques of the manuscript at all phases.. FM.qxd PM Page ix. FM.qxd PM Page...
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Besides CILECT, a growing number of film festivals worldwide have short film categories. Chicago, Toronto, and even Cannes show short films, and all of these festivals have been important launching points for the careers of the filmmakers. Unlike the short story, which continues to be a lively, viable form, the short film is not widely and internationally recognized as some-...
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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...
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(The action in the following scene is shown through reversed film.). With those gloves you’ll go through the mirror as though it were water!. Look at the time.. Orpheus prepares to go through the mirror. Orpheus walks forward, his gloved hands extended toward the mirror. His hands touch reflected hands in the mirror.. Orpheus walks through the mirror with his...
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This intercutting of the elaborate dressing rituals of De Merteuil and Valmont continues, without dialogue. Essentially, as the script makes clear in the last shot of the sequence that follows, we are watching as squires gird two seasoned warriors for battle. In the anteroom to Valmont’s dressing room, a mask covers Valmont’s face as a servant blows powder onto his...
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Sound used as metaphor can create a whole dimension of meaning not immediately apparent in the visual images of a scene. It is one of the more powerful tools available to us in writing the short screenplay.. Titled The Class of ‘75, it is a futuristic story about the last five traditional students in a traditional university. Although the filmmaker...
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At this point, and for most of the script, the two women’s rela- tionship is that of irresponsible little sister and responsible big sister. It is one of the more suspenseful and engaging aspects of a very action-oriented script.. In his treatise known as the Poetics, Aristotle defines dramatic action as “the movement of spirit or psyche that produces a...
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At that time, go through both exercises, underlining the phrases or sentences that best describe your characters and their interaction, especially in light of your answers to the questions above.. If not, find one before going on to the next assignment.. and Susan Emerling, “The Wounding,” unpublished screenplay.. 46 Writing the Short Film. You judge films in the first place...
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There will be times you would like to skip this question, leaving it until the last, and there will be times you’ll be able to answer it immediately—only to find that the catalyst changes with each draft of the script. Calling up our image of Icarus trying to occupy himself with the gull feathers, in the answer to Question 2,...
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To be believable, the character’s capacity for out-of-the-ordinary behavior needs to have been glimpsed by the audi- ence—even if not recognized for what it is—at some point in the story before it appears full blown. (If your aim is to create cartoon characters in a live- action world, believability of behavior doesn’t matter as much.) For example, in the outline...
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In the short script The Lady in Waiting, the authentic-sounding and very different voices of Scarlet and Miss Peach are the result of considerable such research on the writer’s part.. However, we all have many voices available to us—the voices of family members, of friends, of the people with whom we’ve gone to school, or played, or worked. Close your...
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His line, “I honestly think it would be better if you told her” is too supplicating and is in any case implied by “I’ve got meetings all week.”. Her response, “Cancel them,” is far stronger than her accusation of not giv- ing a damn about his daughter—the implication is that if he cared about her at all, he would do...
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Humiliating or painful experiences often provide story material that can lend itself equally well to comedy as to melodrama, or even tragedy.. Everything depends on the writer’s point of view, his or her take on the events portrayed. It might be useful, at this point, to look over earlier writ- ten assignments with as objective an eye as you can...
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We need look no further than the number of television channels—to say nothing of the number of hours that television broadcasts news stories, sports stories, nonfiction stories, and fiction stories, stories of all lengths—to realize the number of stories available to the public every day. There are stories on every level, from casual to the most meaningful. But there are...
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The personal can often be self-indulgent or sophomoric, whereas a story, based on personal experience, that tries to engage the audience more fully, leaves the audience as witnesses instead of participants.. In this chapter, we will illustrate other sources that can be used as the basis for excellent film or video stories.. 3 The recently opened Stasi (secret police) files...
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In both cases, published biog- raphies were a major source of the material for the films. Robert Redford turned to the Norman McLean novella A River Runs Through It to make his film of the same name. Rob Reiner turned to the Aaron Sorkin play A Few Good Men for his film of that name. Francis Ford Coppola went back...
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Whether the sound is synchronized (directly related to the visuals—hearing the sound of a door opening when we see the door open) or is used asynchronously (in con- trast to the visual), the overall pattern of the sound adds another dimension to the experience of the story. In this way, the sound can be used to support an aura of...