The most popular method of cinematic storytelling is the three act structure, which naturally encompasses the beginning, middle, and end of the story. A great cinematic story that uses this structure is Star Wars: Episode IV - A New Hope (1977, d. George Lucas). At the movie's beginning, the viewer is told by text on the screen the setting of the movie and its back story (time 00:01 to 01:35, link 1). The viewer is then thrown into a space battle between what is learned to be the Galactic Empire and the Rebel Alliance. It is in this battle that the first main characters, C-3P0 and R2-D2, are introduced (time 02:12 link 1); it is through these two characters that the viewer meets other characters in Act I as well as learn more about the plot of the rebellion against the Evil Empire. Most of the first act takes place on the planet Tatoonie, which is where characters Luke Skywalker, Ben Kenobi,Han Solo, and Chewbacca are first introduced. Naturally, Act I is used to familiarize the viewer with the characters and explain their dilemmas and how they are going to solve them. However, near the end of the first act (09: 41, link 2 and 00:00 to 00:42, link 3), the main character's mission complicates, as they are captured by the Empire's Death Star. This is what is called a Plot Point, which is "mini climax" to the act which usually creates suspense, escalates the stakes, and propels the action into the next act where new questions will be answered.
After the characters and action of the movie has been set in Act I, the movie enters Act II. The second act is what complicates the action, as the character's mission is derailed when they are captured and learn that their destination has been destroyed by the Empire. Now, the mission is to escape from captivity as well as rescue the Princess Leia, who is also imprisoned (05:01 to 6:40, link 3). In the following events, everyone escapes except Ben Kenobi, who sacrifices himself for the sake of the mission. The heroes take the princess to the moon of Yavin IV, home of a Rebel base. However, they are unaware that the Empire had placed a tracking device on their ship, allowing them to be followed to Yavin IV (09:25 to 09:38, link 4). This is Plot Point Number Two of Star Wars, which lets the viewer know that all is not well for the heroes, and that the dangers and stakes are escalated even higher. The question of whether or not the Empire will destroy the Rebel base is the premise of Act III.
Act III begins with the Rebels figuring out that the Empire is closing in on them and therefore prepare an attack strategy. Skywalker joins the other pilots as they prepare for battle and their mission to destroy the Death Star. As the fight wages on, most of the Rebel Squadron has been obliterated by the Imperial Forces. Only accompanied by the other two remaining fighters, Skywalker begins to take his turn at destroying the only weak spot of the Death Star. Soon after, his two comrades have been disposed of, leaving it up to him to save the entire Rebel Alliance. This is where the movie nears it climax, as the next sequences of action are the deciding points of how the movie will end. Luckily, Han Solo appears from nowhere, giving Skywalker the help he needed in shooting his proton torpedoes at the Death Star's weak spot, thus destroying the galaxy's most powerful space station. The moment when the Death Star explodes into a thousand pieces is the movie's climax, as the problems have been resolved and everyone has been saved (08: 10 to 09:30, link 5). The movie ends with Skywalker, Solo, and Chewbacca being honored by the Alliance, therefore leaving audience's with a happy ending (00:20 to 01:15, link 6).
Link I: http://www.youtube.com/watch?v=9YQR4Khcceg
Link II: http://www.youtube.com/watch?v=hjO7a8AMHEY&feature=related
Link III: http://www.youtube.com/watch?v=hZLu73Ch_pg&feature=related
Link IV: http://www.youtube.com/watch?v=IY-hnOztiAw&feature=related
Link V: http://www.youtube.com/watch?v=I9FWlu-eaRA&NR=1
Link VI: http://www.youtube.com/watch?v=5p-BszlWZzM&feature=related
Remember, the Force will be with you...always.
Saturday, October 30, 2010
Sunday, October 24, 2010
The Situational Comedy
One of the most popular programs on television is the situational comedy, or the sitcom. Ever since the birth of the television, the sitcom has kept audiences glued to their sets with its characters and stories. However, while the characters and stories have changed over the past sixty years, the basic formula of the sitcom has not varied much. One of the aspects of the sitcom that stood the test of time is the half hour long format. Unlike television dramas which are usually an hour long so as to allow certain character growth and more resolution in each episode, the sitcom has relied on half hour episodes. This is because in the typical sitcom there is hardly any character development or major resolution for each episode, therefore there is no need for a full hour episode. This lack of dramatic themes in the sitcom is evidence of its comedic basis. Sitcoms are written to funny to the audience, and an overuse of dramatic elements could alienate some audiences. In most sitcom episodes, the characters will encounter a minor problem which will resolved at the episode's end; until the resolution, many comedic elements are thrown in, including the characters' lines or the characters themselves.
One fine example of the situational comedy is Seinfeld, which aired from 1989 to 1998 on NBC. Seinfeld was a half hour long show that certainly did not dwell on character arcs or developments or lessons. The four main characters, Jerry, Elaine, George, and Kramer, simply encountered a minor problem, such as not getting a seat in a restaurant or dating a woman who ate her peas one at a time. At the end of the episode, the problem would usually be resolved but the characters themselves would never change. The show hardly dived into dramatic themes, and if it did then it would usually be dismissed as stupid by the characters. Using comedic story lines and characters, the show was successful in striking a funny bone in audiences.
Here is an episode of Seinfeld where Jerry dates a woman who only looks good in certain places:
http://www.youtube.com/watch?v=8Xi9kgnvjQE&feature=related
One fine example of the situational comedy is Seinfeld, which aired from 1989 to 1998 on NBC. Seinfeld was a half hour long show that certainly did not dwell on character arcs or developments or lessons. The four main characters, Jerry, Elaine, George, and Kramer, simply encountered a minor problem, such as not getting a seat in a restaurant or dating a woman who ate her peas one at a time. At the end of the episode, the problem would usually be resolved but the characters themselves would never change. The show hardly dived into dramatic themes, and if it did then it would usually be dismissed as stupid by the characters. Using comedic story lines and characters, the show was successful in striking a funny bone in audiences.
Here is an episode of Seinfeld where Jerry dates a woman who only looks good in certain places:
http://www.youtube.com/watch?v=8Xi9kgnvjQE&feature=related
Sunday, October 17, 2010
The Shot Progression
The camera shots of a film determines the language of the movie and helps the viewer learn more about the setting, the characters, and the emotions of the scene. Most, if not all, films use the film language illustrated in camera shots extensively. Recently I have noticed this use of language in the movie Chasing Amy, which was written and directed by Kevin Smith. In the selected scene, Ben Affleck's character Holden McNeil is in deep thought about whether or not he should let his girlfriend's past affect their relationship.
The first shot of McNeil in this scene is a long shot of him sitting on a swing set. This swing set was seen earlier in the movie, as it was where McNeil and his girlfriend, Alyssa Jones played by Joey Lauren Adams, first bonded and formed an attraction towards one another. Using this long shot, Smith lets the viewer know of the familiar setting; this also directs the viewer to notice the correlation and contrast of Holden's relationship with Jones. It also illustrates the emotions of McNeil, who is revisiting a place that resurfaces happy memories. It is important to notice the empty swings swaying beside him, which indicates the loneliness of Affleck's character.
The next camera shot is the close up, which gives the viewer more of an idea of what McNeil is doing. In this shot it can be seen that he is solemnly gazing down at something, although the viewer does not know what it is. Here his emotions are clearly conveyed, as they were indistinct in the long shot. He is slightly slumped over, taking breaths as he is in a deep trance of thought; this shot shows the body language of depression.
The next shot is the extreme close up. This shot reveals what McNeil was gazing at, which turns out to be a yearbook turned to the page of his girlfriend's school photo. The step allows the reader to realize what exactly McNeil was pondering about, which gives more meaning to the entire scene. Since the close up did not let on to what McNeil was staring at, Smith uses an extreme close up to point out the details that were extremely important to the scene, as well as to the story. As the scene progressed, it's content morphed from very general to very specific, with more vital information given in each shot.
The shot progression from long shot to extreme close up is from time maker 2:12 to time marker 2:20:
http://www.youtube.com/watch?v=w14JjfDdFKw&feature=related
The first shot of McNeil in this scene is a long shot of him sitting on a swing set. This swing set was seen earlier in the movie, as it was where McNeil and his girlfriend, Alyssa Jones played by Joey Lauren Adams, first bonded and formed an attraction towards one another. Using this long shot, Smith lets the viewer know of the familiar setting; this also directs the viewer to notice the correlation and contrast of Holden's relationship with Jones. It also illustrates the emotions of McNeil, who is revisiting a place that resurfaces happy memories. It is important to notice the empty swings swaying beside him, which indicates the loneliness of Affleck's character.
The next camera shot is the close up, which gives the viewer more of an idea of what McNeil is doing. In this shot it can be seen that he is solemnly gazing down at something, although the viewer does not know what it is. Here his emotions are clearly conveyed, as they were indistinct in the long shot. He is slightly slumped over, taking breaths as he is in a deep trance of thought; this shot shows the body language of depression.
The next shot is the extreme close up. This shot reveals what McNeil was gazing at, which turns out to be a yearbook turned to the page of his girlfriend's school photo. The step allows the reader to realize what exactly McNeil was pondering about, which gives more meaning to the entire scene. Since the close up did not let on to what McNeil was staring at, Smith uses an extreme close up to point out the details that were extremely important to the scene, as well as to the story. As the scene progressed, it's content morphed from very general to very specific, with more vital information given in each shot.
The shot progression from long shot to extreme close up is from time maker 2:12 to time marker 2:20:
http://www.youtube.com/watch?v=w14JjfDdFKw&feature=related
Sunday, October 10, 2010
The Star System
The key to the success of the Big Five studios during the Golden Age of Hollywood was that each studio controlled every aspect of the movie making process. The Big Five, which includes MGM, Paramount, 20th Century Fox, Warner Bros., and RKO, produced, distributed, and exhibited the movies in their own theaters. However, the dominance of the Big Five studios limited the availibility that had surfaced in independent filmmakers. Because of vertical intergration, it was practically impossible for new filmmakers to have their movies made, much less seen by audiences. This lack the studios' new material and creativity threatened to make the movies of each studio indistinguishable to audiences. Yet, studios solved this dilemma utilizing the "studio system".
Using the studio system, each studio enlisted the same Hollywood stars so as to promote their movies. Stars were key to the success of the Classical Era, as it helped to bring in audiences as well as distinguish each studio from the next. Therefore, each studio began to specialize in a certain genre and develop its own style of movie that would fit its array of stars. If a studio had a star that was a dancer, then that studio would often make musicals. If a studio had a comedian under its roof, it would be sure to produce comedies. This helped audiences who were fans of specific genres and movie stars know which theaters to attend. This certainly helped moviegoers tell the difference between studios and made Hollywood less bland and more diverse.
For instance, Paramount paired singer Bing Crosby and comedian Bob Hope and followed in producing buddy movies in which the duo both starred. Paramount found huge success with Crosby and Hope's "Road to..." series. To serve as the perfect vehicle for crooner and the comedian, the series of movies included many songs and were full of joke telling. Audiences knew that a movie with Crosby and Hope would make use of both men's talents. Therefore, audiences who were fans of that genre or the two entertainers would be certain to attend and invest their money in Paramount theaters. Each studio could be defined by the style of movie they specialized in as well as the stars it had under its belt. Movies did not have top notch production if it had popular movie stars in them. Each studio could have moviegoers streaming through the theater doors if that studio had a wide array of Hollywood stars under its wings.
Road to Morocco:
http://www.youtube.com/watch?v=V_w3UG6C_Mo
Using the studio system, each studio enlisted the same Hollywood stars so as to promote their movies. Stars were key to the success of the Classical Era, as it helped to bring in audiences as well as distinguish each studio from the next. Therefore, each studio began to specialize in a certain genre and develop its own style of movie that would fit its array of stars. If a studio had a star that was a dancer, then that studio would often make musicals. If a studio had a comedian under its roof, it would be sure to produce comedies. This helped audiences who were fans of specific genres and movie stars know which theaters to attend. This certainly helped moviegoers tell the difference between studios and made Hollywood less bland and more diverse.
For instance, Paramount paired singer Bing Crosby and comedian Bob Hope and followed in producing buddy movies in which the duo both starred. Paramount found huge success with Crosby and Hope's "Road to..." series. To serve as the perfect vehicle for crooner and the comedian, the series of movies included many songs and were full of joke telling. Audiences knew that a movie with Crosby and Hope would make use of both men's talents. Therefore, audiences who were fans of that genre or the two entertainers would be certain to attend and invest their money in Paramount theaters. Each studio could be defined by the style of movie they specialized in as well as the stars it had under its belt. Movies did not have top notch production if it had popular movie stars in them. Each studio could have moviegoers streaming through the theater doors if that studio had a wide array of Hollywood stars under its wings.
Road to Morocco:
http://www.youtube.com/watch?v=V_w3UG6C_Mo
Saturday, October 2, 2010
The Family Based Sitcom
"All in the Family" is considered by many to be one of the most important television shows of all time. It was groundbreaking in its content and commentary and it helped usher in a new era of television. The series was very influential on many family based sitcoms that came after, including the show "Home Improvement". Now while "Home Improvement" has not been on the air for over a decade, I have chosen to compare it to "All in the Family" because I do not watch new television series. However, I do view "Home Improvement" as "contemporary" since it was only ten years ago and it is still popular in reruns. I believe that while the two TV shows had two decades between them, the two characters are somewhat the same, but they deal with their problems in different ways.
Both TV shows are centered around the father as the main character. Both Archie Bunker of "All in the Family" and Tim Taylor of "Home Improvement" are do it yourselfers and are reluctant to seek help of another, especially a woman. They resiliently believe in "man power" and how that power should be evident in the home. Both men are womanizing and faithfully preach and practice the act of not letting women do "man's work". Neither of them feel comfortable about sharing their deeper feelings and emotions and this seems to be the source of problems at one time or another. Archie and Tim are very stubborn in their beliefs, though Archie is more so than Tim, and are reluctant to allow their spouses, or anyone else for that matter, teach them a new lesson or give them a lecture. Male viewers usually can relate to these two main characters because they represent opinions and thoughts that are found in many males. Most men have no problem relating to Tim's reluctance to step away from the football game or Archie's stereotype and phobia of homosexuals. While it seems the entire world is attempting to be politically correct, it is refreshing to see two characters that seem totally disinclined to care.
However, while Archie seems to never budge from his viewpoints let alone his chair, Tim becomes more willing throughout each episode to change his perception or bad habit to reach resolution. This is simply the personality of each character, as both are surrounded by people who relentlessly attempt to alter their viewpoints. In "All in the Family", Archie Bunker is lectured to mostly by his daughter and son-in-law while Tim Taylor's talks are usually between his wife and neighbor. Archie's wife, non-opinionated housewife Ethel, is almost the exact opposite of Tim's wife Jill, who works and goes to school and is not afraid to tell her husband exactly what she thinks. This presentation of the wife reflects the changing times of the late 20th Century, as Ethel is forced by Archie to be the last surviving housewife and Jill is the woman of '90s who is determined to succeed in the workplace. Naturally, the same goes for Archie and Tim, as both men are forced to realize the changes taking place in the home or society, and both men react differently. Archie holds firm in his beliefs and values while brushing off new acceptances in the rest of society to be wrong and stupid. He also refuses to watch "The Mary Tyler Moore Show". On the other hand, Tim realizes that it's the '90s, and he needs to learn to understand and cope with the changing of times.
Although, throughout the years, I have never seen a "Home Improvement"episode that commentated on national affairs like "All in the Family" did. In many episode of the latter, Archie commentates and critizizes former President Nixon on what the President was actually doing at that point in time; "Home Improvement" never strived to center their problems around something political but rather focused on family and social issues. In fact, most episodes of "Home Improvement" were centered around family issues and how to deal with them. While I'm sure there is one, I have never seen an "All in the Family" episode that gave Archie enough sentiment to put his daughter Gloria on his knee and teach her a lesson about drugs like Tim did with his son Brad. Both fathers were caring for their families, the character of Archie was incapable of uttering words of compassion in most episodes, while Tim did so in most of "Home Improvement's" run.
Both TV shows are centered around the father as the main character. Both Archie Bunker of "All in the Family" and Tim Taylor of "Home Improvement" are do it yourselfers and are reluctant to seek help of another, especially a woman. They resiliently believe in "man power" and how that power should be evident in the home. Both men are womanizing and faithfully preach and practice the act of not letting women do "man's work". Neither of them feel comfortable about sharing their deeper feelings and emotions and this seems to be the source of problems at one time or another. Archie and Tim are very stubborn in their beliefs, though Archie is more so than Tim, and are reluctant to allow their spouses, or anyone else for that matter, teach them a new lesson or give them a lecture. Male viewers usually can relate to these two main characters because they represent opinions and thoughts that are found in many males. Most men have no problem relating to Tim's reluctance to step away from the football game or Archie's stereotype and phobia of homosexuals. While it seems the entire world is attempting to be politically correct, it is refreshing to see two characters that seem totally disinclined to care.
However, while Archie seems to never budge from his viewpoints let alone his chair, Tim becomes more willing throughout each episode to change his perception or bad habit to reach resolution. This is simply the personality of each character, as both are surrounded by people who relentlessly attempt to alter their viewpoints. In "All in the Family", Archie Bunker is lectured to mostly by his daughter and son-in-law while Tim Taylor's talks are usually between his wife and neighbor. Archie's wife, non-opinionated housewife Ethel, is almost the exact opposite of Tim's wife Jill, who works and goes to school and is not afraid to tell her husband exactly what she thinks. This presentation of the wife reflects the changing times of the late 20th Century, as Ethel is forced by Archie to be the last surviving housewife and Jill is the woman of '90s who is determined to succeed in the workplace. Naturally, the same goes for Archie and Tim, as both men are forced to realize the changes taking place in the home or society, and both men react differently. Archie holds firm in his beliefs and values while brushing off new acceptances in the rest of society to be wrong and stupid. He also refuses to watch "The Mary Tyler Moore Show". On the other hand, Tim realizes that it's the '90s, and he needs to learn to understand and cope with the changing of times.
Although, throughout the years, I have never seen a "Home Improvement"episode that commentated on national affairs like "All in the Family" did. In many episode of the latter, Archie commentates and critizizes former President Nixon on what the President was actually doing at that point in time; "Home Improvement" never strived to center their problems around something political but rather focused on family and social issues. In fact, most episodes of "Home Improvement" were centered around family issues and how to deal with them. While I'm sure there is one, I have never seen an "All in the Family" episode that gave Archie enough sentiment to put his daughter Gloria on his knee and teach her a lesson about drugs like Tim did with his son Brad. Both fathers were caring for their families, the character of Archie was incapable of uttering words of compassion in most episodes, while Tim did so in most of "Home Improvement's" run.
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