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| telling of a story, cinematic structure in which the filmmakers have selcetd and arranged story events in a casue and effect sequence over time. |
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| movie devoted to conveying fictional or fictionalized stories, usually organized in a traditional narrative structure inccluding exposition, rising action, climax, falling action, denouement. |
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| All types of films including experimental and documentary movies may employ a narrative structure |
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earliest form of the screen play
an outline of the action that brielfy describes the essential ideas and structure of the film |
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treatment is discussed and develioped in sessions
during which it is transformed into a rough draft or scenerio |
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| shot-by-shot (sometimes a scene-by-scene) breakdown that combines sketches or photographs of how each shot is to look with written description sof the other elements that are to accompany each shot, including dialogue, sopund and music |
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Exposition
Rising action
Climax
falling action
Denouement |
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Everyuthing preceding and including the inciting moment the event or situation thats ets the rest of the narrative in motion
provides background information on the characters |
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The development of the action of the narrative toward a climax
the principal conflict develops and may be complicated by the introduction of related secondary conflicts |
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| The narratives turning point |
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The events that follow the climax and bring the narrative from climax to conclusion
the principal conflict moves toward resolution, with the protagonist winning or losing against the antagonist |
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| The resolution or conclusion of the narrative |
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all the narrative events that are explicitly presented on the screen
all the events that are implicit or that we infer to ahve happened but are not explictly presented |
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| total world of the story, the events characters, objects, settings, and sounds that form the world in which the story occurs |
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| elements that make up the diegesis |
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| the things that we see and hear on the screen but tht come from outside the world of the story |
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Structure for presenting everything that we see and hear in a film
1. the diegetic events arranged in acertain order
2. nondiegetic material |
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| Story and plot overlap becasue each includes the narrative events that we explicitloy see and hear on screen |
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| subordinate sequence of action in a narrative, usually relevant to enriching the plot |
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| fictional history behind the situation extant at the start of the main story |
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| can be manipulated so that events are presented in nonchronological order sequences that emphasize importance or meaning or that establish desired expectations in audiences |
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| time that the implied story takes to occur |
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| being taken unawares can be shocking and our emotional response tom is generally short lived |
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| anxiety brought on by a partial uncertainty, the end is certyain, but the means is uncertain |
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| any image that a director periodically repeats in amovie to help stabilize its narrative |
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Complex and 3 dimensional possessing severla traits sometimes even contradictory ones
unpredictable, capable of surprising us in a convincing way |
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| one dimensional possessing one or very few discerniable tarits, and their motivations and actions are generally predictable |
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| Most important characters to the plot make the most things happen or have the mkost things happen to them |
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| central figure of a story and is often refered top as the hero, but is not necesarily the hero |
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| play less important role in the overall movie, functioning usually asa means of moving the plot forward or of fleshing out the motivations of the major characters |
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| Lack definition and are onscreen for very short periods of time |
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| process of the actors interpreting a character in a movie |
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| Movie is the time and place in which the story occurs |
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| The overall range in time and place of the movies story |
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| The overall range in time and place of the movies story |
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| (unrestricted) giving us a third person view of all aspects of the movie's action or characters |
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| a narration that reveals information to the audience only as a specific character learns of it |
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| occurs when a character breaks the fourth wall( the assumed barrier between the characters on the screen and the audience) to address us directly |
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