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34 Cards in this Set
- Front
- Back
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7 Step Comedy Paradigm- (Used with When Harry Met Sally) |
A simplified 3 act structure- 1- Meet: significant encounter 2- Lose: separated, reunited and separated again 3- Get: reunite |
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Romantic comedies follow 7 beats- A romantic comedy being a comedy which revolves around a romantic relationship |
1- Set up 2- Catalyst 3. Sexy complication 4. Hook 5. Swivel 6. Dark moment 7. Joyful defeat Look at ppt for case study |
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Hanicaps- |
The audience knows the ending before the film even begins. You must get the audience interested in the story. Characters/strong desires/plenty of obstacles (internal and external). |
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Male lead- |
Attractive but also intimate, weak? Arc= from strong, sexaholic, macho, sexist to gradual exposure of weakness. Love wins. |
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Female lead- |
Strong, modern, active, aggressive (resistance) True love She is not subordinate in the couple. |
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Wrong guy/girl- |
Socially presentable and stable but not deep or desirable. No chemistry. |
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Friend, helper- |
Characterisation mirror Helps move the story forward |
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Protagonist- |
Usually 1, maybe 2 We follow the protagonist's story In both relationship and action line On screen most of the time Most interesting character that changes the most Drives the action Active rather than passive POV/strongest identification Must be established before action line can start |
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For identification with the protagonist there are 4 rules. |
1. Suffers unfair treatment or misfortune 2. Put in jeopardy or danger 3. Character is liable (usually- antiheroes?) 4. They are courageous |
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Antihero- |
Regular protagonist rules apply. But the character has moral weaknesses, their flaws hurt others. Action line involves criminal activity Relationship line involves deception POV of criminals Goal leads to more hysterical criminal activity Usually demonstrates a strong loyalty to family and friends Antagonists are usually worse/less moral |
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Helpers- |
Current or soon to be friends or relatives or forced into role by events. Force character to articulate goal. They help because they care. |
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Mentor- |
Knowledge, wisdom, skills, expertise to transmit They help because they can |
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Mento antagonist- |
Enigmatic/unpredictable/eccentric/dominant outsider Wisdom borne of pain Most interesting character when protagonist is weaker/passive Does not change or grow No identification/POV |
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Antagonist- |
Creates conflict, causes trouble Wishes directly opposed to protagonists 2 or more antagonists At least one in action line (external enemy) One in relationship line (internal conflict) Major/minor antagonist Human/non-human force (but human agents) Enemies but also lovers/friends/relatives Strong antagonist helps create even stronger protagonists |
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Action line antagonist Changes little, barely stoppable Minor agents exist due to physical distance |
Relationship line antagonists Allow protagonists thoughts and feelings to be known Usually end up as friends/allies |
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The point of the antagonist- |
By standing in the way of the protagonist's goal antagonists force them to achieve the goal and face their real needs. |
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Ontological traits- |
Nature |
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Cultural traits- |
Nurture and experience |
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These traits are expressed through- |
Physical appearance, social interaction, psychological processes. |
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The ghost- |
The painful event from the past which effects the present. It overshadows everything they do and causes long self esteem. The action line will force the protagonist to confront this internal dilemma. |
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Ontological traits examples- |
Gender Race Class Family Name and how these effect their ideologies and attitudes. |
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Cultural traits examples- |
Education (linked to class and occupation) Abilities (or inabilities) Own family (married into/children) Sexuality Backstory |
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In the moment- |
Age Occupation Friends and enemies Appearance/impression on others World view Beliefs General manner Sense of humour Tension levels Language Past times and passions Self-delusions |
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Themes- |
There are themes which set up problems leading to consequences. Such as dishonesty. |
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Themes in The Full Monty- |
Stereotypes about the roles of men and of women: Such as men being repressed and women as pragmatic and practical. Reversal of stereotypes, men emulating what women do. |
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Dynamics- |
Highs and lows, good fortune and ill fortune. |
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Through line- |
Resulting overall patternof dynamics through time (of narrative). Vonnegut analysed this. |
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Look at Syd Fields principle applied to The Full Monty |
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Action line- |
Series of events which exert change on the protagonist. More of a physical problem. |
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Relationship line- |
Character relationships, internal change Public interaction. Internal conflict. Events in the action line trigger those in the relationship line and vice versa. |
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Character's arc-
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The internal journey of the protagonist and other characters. Emotional/psychological/spiritual. Caused by and in response to events in the RL and AL. Setting, the furthest point to change. Climax, moment of final change. The bigger the arc, the more dramatic the film. |
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Character transformation- |
This is essential to any story. Their want/goal vs their need. Physical vs emotional. Contradictory but also complementary. |
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Look at Thelma and Louise case study. |
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The Mid-point- |
It is the point at which the character goes from 49 to 50 to 51% towards being a changed person. For instance in Thelma and Louise. Before the mid point Thelma could have gone home at any time, but after this point she is changed too much- she is completely invested. It tips the balance towards the characters ultimate transformation.
The fulcrum that shifts the balance, the point of no return. |
