SYSTEM SCREENPLAY Write and describe the film.
the new book by Luca and Enrico Bandirali Terrone
FROM 17 SEPTEMBER LIBRARY
Over the past three decades the theory of cinema has focused on the context of the film, the poetry of authors and attitudes of the spectators, leaving the analysis of narrative structures became the prerogative of screenwriting manuals.
The theoretical attempt to answer the question "What is a story for the cinema?" [...] Has found increasingly go through the answers to the practical question "How does a script?", And then through reflections of the people who wrote the script and read for a living.
So the Russian formalists (Propp, Jakobson) and French narratology (Greimas, Genette), however, all literary theorists rather than the cinema, have gradually replaced the names of story analyst and script consultant Americans, the so-called "neoaristotelici [...].
This mutation of the reference system has two main consequences, a virtuous and vicious.
virtuous appearance follows the setting of empirical and pragmatic story analyst, which are not locked in the ivory tower professors to always see the same ten movies, but professionals who work closely with the major Hollywood productions, which offer their an endless repertoire of 'case studies' and above all a substantial test for the verifiability of hypotheses and models.
But this rule of practice is also due to the appearance of the circle of narratology story analyst, or his lack of rigorous, systematic and universal, and thus its tendency to be reduced to a bag of tricks and formulas to learn how to write "a great script," where the emphasis is on how to operate require the plot to do, rather than on explaining how they work the plots of movies that already exist.
The screenplay is being proposed in order to restore the study of narrative structures in film theory, building on achievements of the manuals story analyst, however, reformulated within a discourse rigorously and systematically.
The screenplay is so animated by the desire to transform the practice of neoaristotelici in an ideal machine, perfect paradigm, able to explain "how a screenplay, what a story for the cinema" in general, in terms conceptual theory.
of this' typewriter and describe the film "parts of the book analyzes the different components.
In the opening chapters we focus on the "frame" of cinematic storytelling, which consists of the basic definitions (story and screenplay, chap. 1) in generative principles (story concept and theme, ch. 2), and the constituent elements (character and world, ch. 3). From here, you switch to 'dynamic', ie the "engine" capable of setting in motion the story: this "narrative engine" consists of a basic scheme (the plot, chap. 4) and its implementation (structure Three Acts, ch. 5), whose study provides for the possibility of variants (the alternative facilities, ch. 6) and versions (the hero's journey, ch. 7). Then it was the turn of the 'body' of the story, which involves the construction of individual segments (the scene, ch. 8) that substantiate the patterns translating narrative stages and joints in concrete actions. Finally
is to understand how is the "guide" the machinery, that is, with such operations, the narrative discourse holds the reins of the story (plot D, ch. 9), to which we can draw a map of the main 'street' that the narrative machine is used to cover (types, ch. 10).
remains to determine who will be dedicated this "typewriter and describe the film."
The answer is implicit in the wording: the system is who they want to write the film - writers and would-be - because to understand how a film is the best way to learn how to design one, but the book is about those movies even more want to learn to describe them: to recognize how they are made, to understand how they work or not work, to acquire the tools to analyze, evaluate, interpret a film on an informed basis. So The screenplay is not directed only to writers but also the script consultant, to film critics, scholars and students.
especially directed at the audience enjoy watching films - whatever the manner in which this passion is manifested, even if just watching the film - in the belief that knowledge of structures and principles provide the opportunity to transform the object of his passion a discipline that will be a source of pleasure and knowledge.
Bandirali Luca is a professor of History and Technique of Screenplay at the University of Salento, together with Sabina Guzzanti wrote the screenplay for the Lobster (2007).
Henry Terrone teaches film history and criticism at the University of Piemonte Orientale and collaborates with Labonte (Laboratory for Ontology), University of Turin.
Both are editors of 'Segnocinema. "Lindau to have written: In the eye in the sky. Theory and history of science fiction cinema (2008).
"The script"
Luca and Enrico Bandirali Terrone
Edizioni Lindau
'Wise Men'
page. € 22 326
ISBN 978-88-7180-831-4
INTERVIEW WITH THE AUTHORS
Why a book about screenwriting?
The cinema in our society has been and is mainly used to tell stories, and then we felt that a proper discourse on the film as a starting point requires a deeper reflection on the functioning of these stories. We were interested to establish what were the essential parts and their construction processes, starting from the general, that is the question: "What must necessarily happen because there is a story?" To get down to the smallest details: "How it's made the world inhabited by the characters of a story? Paths through which the story unfolds? How do these trajectories can be broken down into scenes? How it works, taken individually, each scene? "
What categories of movies does your studio?
The answer may seem presumptuous but it is sincere: all narrative films, from the more 'commercial' to the more 'experimental', the 'classic' to 'contemporary'. Our system includes a variety of shades and facets, and is designed to give an account of any film that falls within the fold of the narrative, as evidenced by the large repertoire of examples to which we been used.
Which player you are targeting? There is no individual who does not compare with the narratives, of whatever kind. In our society, the narratives are the dominant cinema in general (movies and TV series). Our "system" is designed so that a reader-viewer, without the experience of watching the movie or television series, has a desire to grasp and understand the mechanisms, for example in order to substantiate his opinions on film with arguments based, even just during a conversation at the exit from the room. We think the fact that commonly the discourse on film focuses on the story they tell, we believe in this manner which might be very interesting to address this speech is so widespread and shared with the appropriate tools. It's like knowing the language of a country when you visit it, usually it is a more full and satisfactory.
So the book serves only to understand more deeply the film and discuss it with competence?
No, this is for, but not limited to this. There is another equally important level of interpretation: it is being accessed when you try to write its own history, and we realize that in addition to so-called inspiration, there is a great need for rules, coordinates, processes, that really serve to give narrative shape to the idea which has, in this case, the "system" to read a narrative of others becomes the system to produce its own in the best way.
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