Aristotle in Hollywood: Visual Stories That Work (Studies in Scriptwriting)
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Throughout the centuries Aristotle's Poetics remained something of a mystery. What was the great philosopher trying to say about the nature of drama and storytelling? What did he mean by pity, fear and catharsis? In this book, Ari Hiltunen explains the mystery of the 'proper pleasure', which, according to Aristotle, is the goal of drama and can be brought about by using certain storytelling strategies. Hiltunen develops Aristotle's thesis to demonstrate how the world's best-loved fairy tales, Shakespeare's success, and empirical studies on the enjoyment of drama and brain physiology, all give support to the idea of a universal 'proper pleasure' through storytelling. Examining the key concepts and logic of Poetics, Hiltunen offers a unique insight to anyone who wants to know the secret of successful storytelling, both in the past and in today's multi-billion dollar entertainment industry.
of its significance for the course of the action. Propp drew the following conclusions: • Functions of characters serve as stable, constant elements in a tale, independent of how and by whom they are fulfilled. • The number of functions known to the folktale is limited. • The sequence of functions is always identical. • All fairy tales are of one type as regards their structure. Propp noticed a limited number of combinations of narrative motifs found in the oral tradition, as opposed to the total
realises something important about love. This insight functions as a motive for his actions in later scenes. 30. ER Desk Benton asks Greene to talk to the coma patient’s wife because the organs will soon start to deteriorate. Greene says that it is sometimes difficult to get permission from relatives. Benton admits to having informed the transplant teams. Greene says that that was not wise but he will try talking to the wife. The clock is ticking. Macho Benton has, after all, to rely on the help
can learn from them. In interactive worlds we can meet mentors who would prepare us for making choices at critical moments. We might bring to our story character our own real dominant characteristics that we feel inhibit us from achieving our personal goals in life. We can meet characters who would tell us the truth about ourselves. These other characters look and feel very real and we can fall in love with them or hate them. And at some point we would need to face our own deepest fears. In the
general outlines are concerned. We demand variety of incident more than we demand variety of plot in our fiction. When we pick up a modern picturesque tale, whether it is narrated by Felix Krull or Augie March, we know in a general way what to expect. We know our destination though we do not know specifically what scenes we shall pass by on the way. The specifics of incident admit as much variation as the specifics of characterisation, and it is in this area that we expect an author to exercise
forehead. This creates a great recognition scene at the end of the story. 18. Victory: The villain is defeated. During the fight the father reaches for a log and knocks the villain unconscious. 19. Liquidation: The misfortune or lack is ‘liquidated’. ‘The object of the search is seized by the use of force or cunning.’ The father finds his frightened daughter in the dark basement. The action changes direction as this reversal occurs. There is relief as the goal seems to have been achieved. This