Sequence Theory:
The sequence method of script analysis, also known as “eight-sequence structure”, was developed by Frank Daniel, whilst head of the the Screenwriting Program at USC. It is based partly on the fact that, in the earliest days of cinema, technical requirement meant screenwriters had to structure their stories in sequences, each approximately the length of a reel of film.
The sequence method mimics this early practise. The story is divided up into eight 10–15 minute blocks or sequences. These sequences are then treated as “mini-movies” within the whole, each with its own compressed three-act structure. Sequences one and two combine to form the Act 1. The next four sequence correspond to Act2. The final two sections form the resolution
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The main tensions and the narrative engine will be firmly established by the time this sequence is completed. The second sequence ends with the first plot point and the main character firmly locked into the story and catapulted into act two in pursuit of their goals.
ACT II
SEQUENCE THREE – First Obstacle & Raising the Stakes
In pursuit of their goal the protagonist will encounter obstacles. The first is faced here. The protagonist’s options are narrowing. Exposition left out of Act 1 is often inserted here. This new exposition can make both the main conflict and any new conflicts/subplots have even higher stakes.
SEQUENCE FOUR – First Culmination/Midpoint
A higher obstacle and the story’s rising action builds to the First Culmination/Midpoint. The Midpoint Mirror is often observed here. The Midpoint can parallel the resolution of the film. (roughly - If it is a tragedy in which our hero dies or is defeated then the first midpoint tends be a low point for our character. If our protagonist is triumphant in the end then sequence four can end with him winning in some way.
SEQUENCE FIVE – Subplot & Rising
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So, if the protagonist ultimately wins by the end of the film, then they can experience their lowest point here in the script.
ACT III
SEQUENCE SEVEN – New Tension & Twist
The establishment of the third act tension with all its exposition. The apparent solution of the central dramatic question from the last sequence shows its weaknesses here. Last minute plot twists are encountered. The action can be simpler and faster with rapid, short scenes and no elaborate set-ups. The twist if there is one ends this sequence or come at the very start of the next one.
SEQUENCE EIGHT – Resolution
There is nothing to find here but the resolution. The narrative must finish itself. Clarity is vital. A brief epilogue can finish this sequence and the story.
Hero’s Journey/Monomyth – 12 Stages.
A structure derived from Joseph Campbell's Monomyth theory taken from his book The Hero With A Thousand Faces and adapted by Christopher Vogler as the 12 Stage Hero's Journey. Essentially a detailed study of the Character Arc for your protagonist/hero which can be seen to match the more traditional three-act
pg 18,l. 81-82). Each story comes with an idea, but algebra is what makes story be read by readers. There is an“ implicate framework that must underlie a story” (C. pg.18,l.85-86). The implicate frame work in algebraic, the arc that holds the story together. The arc has five key components called the exposition, rising action, climax, Falling action and then the denouement. The exposition set’s up the plot and characters. Then comes the rising action where there is a conflict, that will get the reader’s attention. The climax is where we can see the end of the conflict, but it is not solved yet. The falling action is where the conflict is finally solved, but can sometimes have a little bit of drama at the end. The denouement is the final component in the arc, it is where the story is ending with a sigh of relief. The fire and algebra while hold the story and be read by reader’s.
In the late 1940’s a man named Joseph Campbell shared his Mythic principal with the world. He explains that there is a three-stage formula that he calls a Hero Journey which is the structure of every story. Though most stories are completely different on the outside, the stories are almost structured around these three stages. Stage 1 is the hero leaves the everyday world and enters another world. While Stage 2 the hero is challenged by opposing forces and must pass a series a test throughout the movie. That will then determine who will be victorious, either the hero or the opposing forces. Stage 3 is tied into Stage 2 because if the hero is victorious, they will return to the ordinary world with a gift for the world.
The novel starts with a preamble that actually pace sets the panorama for the proceeding actions and is split into two sections. The first section defines two
ELA-Literacy.RL.6.3: Describe how a particular story’s or drama’s plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves towards a resolution.
The climax is very heart-retching and deals with the narrator selfishness. After that, the narrator should have learned not to be selfish and to never let anyone get left
At the end, the characters accept their motives, ambitions, hopes and fears which determine their actions
NOW list the events in the SEQUENCE in which they are PRESENTED IN THE STORY (the orchestration of PLOT).
After the climax, the story continues with the falling action. The falling action includes the events directly following the climax and preceding the resolution. The author uses the falling action to answer previous questions in the story, while also presenting an unexpected scenario that continues to
The illustrations should help readers anticipate the unfolding of a story’s action and its climax.
In the final analysis, characters from both stories carried with them a dream that inevitably led them to irrational thinking and an ultimate downfall. In simple
The common formula for these second act, rehashed tales often disappoint. The thrill is gone and producer’s resort to trickery such as, far fetched story lines and metaphors to capture our attention. They have to dig deeper into the psyche and personal lives of the leading cast, which often leaves a lackluster taste on our cinematic palates. It is very difficult to spin the same old tale time after time, this
Topic: Thesis statement: Sequence analysis, film form and style as depicted in the film, The Matrix.
The first phase of the hero’s journey archetype is called the “ordinary world.” according to Christopher Vogler, this is the stage in which “The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma.” In the beginning of the story, the author discusses how the story makes him uncomfortable:
is about. Thus, from the beginning of the story until almost the end, there is an
is a pattern of narrative that appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of the archetype known as The Hero in twelve stages.