SCRIPT GUIDE 2

When talking about screening of some book, we often pay attention to the plot and characters, looking for differences and

Movie titles first appeared in the beginning of silent films around the early twentieth century, giving producers the opportunity to display legal and copyright information. Before the fifties these movie titles were just text with information, they were static, separate from the movie, and it was common for them to be projected onto the cinema curtains before the first scene of the movie. This paper will address the introduction of title sequences in modern cinema in the fifties, their impact the world of film as whole, and how they have evolved into

To many of us writing can be a daunting task, and often more complicated than it should be, but, as stated by famed American author Ernest Hemingway, “There is nothing to writing, All you do is sit down at a typewriter and bleed’. The fact of the matter is, eventually blood clots, and scabs form. It’s the same in writing; many authors bleed onto a page and use their metaphorical blood as ink, thus placing a piece of themselves into their work. But, no matter how great the author, eventually writer block ensues, casting a writer into a literary funk and halting the flow of thematic ideas; however, themes such as love and wealth transcend time, culture, and language. So it’s not difficult to think that famed authors, when in a pinch, often recycle broad themes to create a more compelling and relatable story. In the American work, The Great Gatsby by F. Scott Fitzgerald and its cinematic counterpart, directed by Baz Lutherman, themes such as wealth, love, isolation, and dissatisfaction are used to create a novel that still holds parallels to the world of today.

In classical Hollywood cinema the narrative structure consists of a three act structure. (book) This structure organizes the storyline of a film in the following way; Act 1 is all about the setup of the story and characters, Act 2 introduces additional plot elements and obstacles and Act 3 is the culmination of Act 1 and 2 wherein the main conflict arises and closure is introduced. In Act 1 of a classical cinema film is concerned mainly with the introduction of the main characters in the story, “we are introduced to the main characters in the story, their goals, and the obstacles they are likely to

At this present time, the world is forming around a new age of technology that allows people to continuously indulge through alternative lengths of story-telling. This creates opportunities to explore new concepts, understand new ideologies, and see new perspectives. As a result, adaptations of the same story are produced throughout these different forms of media. The most commonly known type of adaptations in media is the occurrence producing novels into films. In particular, movies create characters that were once words on a page and bring them to life as real people. This sets a list of great similarities and differences to the type of media that is chosen to express a specific theme in a story. Accordingly, films can emphasize a theme by visually showing a character’s actions and physically displaying their feelings through facial expressions. However, novels can describe the mental state of a character through inner monologue that could last as many pages as the author wishes. For example, the play A Streetcar Named Desire by Tennessee Williams and the film of the same title by Elia Kazan share the same story but across two different types of media. Although both stories exhibit the link between masculinity and violence, the play demonstrates this theme with Stanley's actions while the film explores his motives.

The research focuses on examining how and develops a screenwriter writes a screenplay. Throughout the development process of a diary, recording notes on everything related to the process of developing the script will continue. The review of the development is both a record of the process, but also a tool for reflection that through constant reference becomes a reflective process, with a permanent effect

that often a serious or dramatic scene would be occurring on the screen wile the

Adapting novels into film scripts is always a challenge. Writers have to make sure the most important parts are still there and that the essence of the author and its novel isn’t forgotten. For the written task 1 of the Language A course I decided to write a film script based on the novel of Scott F. Fitzgerald, The great Gatsby. Based on the Literature - Critical study course from the program.

“After nourishment, shelter and companionship, stories are the thing we need most in the world.” (Pullman, year). Storytelling has always been at the heart of Hollywood cinema. Revisiting the theories of Propp we can see the difference between a films story and its discourse, a story is what is being told where as the narrative is how it is told - “[a story is] An account of a string of events occurring in space and time… a narrative presents an order of events connected by the logic of cause and effect” (Pramaggiore & Wallis, 2008) Thus, it is through a films narrative that Hollywood tells its audience the story. In Thomas Elsaesser and Warren Buckland’s book Studying Contemporary American Film: A Guide to Movie Analysis narration is described as “How information reaches the audience and is mentally or emotionally processed…the function of filmic narration is to guide the eye and cue the mind…” (Elsaesser & Buckland, 2002) Hollywood storytelling is a tradition, since the 1920’s it has followed the same basic structure, however in contemporary Hollywood cinema many creative filmmakers, through the development of characters and deepening of plots, have found fresh ways to explore how a story is told (Bordwell, 2006). One of the most interesting developments in contemporary cinema of the past twenty years has been the surge of mainstream films that have come to move away from the traditions of Hollywood narrative and have introduced more complex and challenging narratives.

between the detailed components and conclusion of the story.  These elements draw clues and foreshadow the events that

of the film. The audience like to know what to expect of a film before

One of the greatest components of textual work is its ability to be translated into different mediums of art. Throughout history, inspiration has been drawn from written works as a means to convey a new perspective on an old story: paintings depicting biblical scenes, stage plays, ballads, films and even youtube videos. In today’s society, it has become commonplace for written work to be converted into a visual medium, most notably films. Cinema provides distinct options to explore stories in a way that other mediums are incapable of doing. For instance, William Shakespeare’s plays have often been texts that are predominantly performed on the stage, but when adapted into screen versions, new devices for storytelling become available. The

Evidently, writers garner the process of self-publication by means of the Information Age at their disposal, and intentional for writer’s during editorial progressions. Relatively, writer’s works are products of robust creative freedom, either driven by a muse and or coupled by a complex yet reliable outline. In any case, scripting a first draft is penning still in its infancy. The only function of the first draft is to help writers discover a narrative rhythm, and a voice under the cloak of style and theme to tell their story. Equally, virtues of an artist develop by

There are few similarities and dissimilarities between literature and cinema. Moreover, they have been complementing each other since the birth of cinema. During the earlier eras the films were adapted from the books written by different authors, as there are few film-makers who experimented with the script. However, both the books and movies exist in the written form. A script of movie is at first produced in written form and then made into a film. Therefore, they share this first similarity.

Furthermore, the pace of a full length work allows the audience to really “get into” these characters that will change, develop, grow, and sink the audience in further. The typical pace of a full length piece of literature needs to be quick enough to hook in an audience sooner rather than later. In plays, it is easy to get this to happen with dialogue. The effective use of dialogue makes the story move much quicker than description of scenery. The audience’s introduction to the environment, the characters, and situations are almost entirely projected by dialogue. Some play writes choose to have long winded stage