Read e-book online A Poetics for Screenwriters PDF

Television

By Lance Lee

ISBN-10: 0292747187

ISBN-13: 9780292747180

ISBN-10: 0292747195

ISBN-13: 9780292747197

Writing winning screenplays that seize the general public mind's eye and richly present the screenwriter calls for greater than easily following the formulation prescribed via the handfuls of screenwriting manuals at present in print. studying the "how-tos" is necessary, yet figuring out the dramatic components that make up an excellent screenplay is both an important for writing a memorable motion picture. In A Poetics for Screenwriters, veteran author and instructor Lance Lee bargains aspiring screenwriters a radical evaluate of all of the dramatic components of screenplays, impartial towards any specific screenwriting method.Lee explores each one point of screenwriting intimately. He covers fundamental plot components, dramatic truth, storytelling stance and plot varieties, personality, brain in drama, spectacle and different components, and constructing and filming the tale. proper examples from dozens of yankee and overseas movies, together with Rear Window, Blue, Witness, the standard Suspects, Virgin Spring, Fanny and Alexander, The Godfather, and at the Waterfront, in addition to from dramas starting from the Greek tragedies to the performs of Shakespeare and Ibsen, illustrate all of his points.This new evaluate of the dramatic paintings offers a hugely worthwhile replace for all scholars and pros who've attempted to evolve the foundations of Aristotle's Poetics to the wishes of contemporary screenwriting. through explaining "why" stable screenplays paintings, this publication is the quintessential significant other for all of the "how-to" courses.

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Ivan snatches up the cup. He carries it to the Tsarina. Euphrosyne conceals herself in a corner. She watches from the corner. Anastasia drinks thirstily from the cup. Her eyes are wide open in fear. Ivan holds the cup solicitously . . 15 20 A Poetics for Screenwriters In the corner Euphrosyne secretes away a vial of poison. The opening montage of Jean Cocteau’s The Blood of a Poet begins: The author, masked except for his eyes, holding a plaster hand in his hand, this real hand and the wrist of the other covered by draped cloth, announces that the film is beginning, against a backdrop of studio lamps.

Joanna, in Kramer vs. Kramer, her face filling the great screen, stands for all unhappy women in all unhappy marriages driven to desperation. A screenwriter needs to remember that in terms of reality there is little to choose from between Cocteau’s The Blood of a Poet, Eisenstein’s Ivan the Terrible, Lucas and Kasdan’s Raiders of the Lost Ark, and Benton’s Kramer vs. Kramer: they are all equally deceptive illusions of the first order, differing only in their outward styles. Yet we are so easily deceived, that film surface is so compelling, and our urge to believe runs so deep, that we will believe in a reality we know is all smoke and mirrors unless the story is too flawed to hold our assent.

Every screenwriter has had the experience of being led on a road of discovery by her own characters as a story comes to life. The idea of a muse grows from this experience, for all the hard work we do in thinking through plot, character, and theme. Lonely as it may Primary Plot Elements 33 be, a screenwriter must trust to his own genius. ’’ 3. The Nature of Conflict ‘‘Drama’’ and ‘‘conflict’’ are synonyms. Conflict is innate, growing out of the tragic nature of our existence: we can never know all there is to know, never hold on to love despite all our efforts, for we must surrender and pass from the scene, however ardently we yearn for immortality.

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A Poetics for Screenwriters by Lance Lee


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