|
PREFACE TO THE THIRD EDITION |
4 |
| |
|
|
INTRODUCTION |
8 |
| |
|
|
WARNING |
19 |
| |
|
|
THE SYNTHETIC MODEL
|
|
| |
|
|
I.
THE BASIC MECHANISMS |
32 |
| |
|
1.
CONFLICT AND EMOTION
|
|
A.
The basic element
|
33 |
B.
The interest of conflict
|
37 |
C.
Noteworthy examples of conflict
|
46 |
D.
How conflict works
|
50 |
| |
|
2.
PROTAGONIST - OBJECTIVE
|
|
A.
Definition and properties
|
53 |
B.
The objective's effectiveness
|
64 |
| |
|
3. OBSTACLES
|
|
A.
The nature and variety of obstacles
|
67 |
B.
Creating effective obstacles
|
80 |
C.
Examples
|
99 |
D.
The dramatic question and suspense
|
102 |
| |
|
4.
CHARACTERISATION
|
|
A.
Elements of characterisation
|
110 |
B.
Action and characterisation
|
115 |
C.
Techniques of characterisation
|
117 |
D.
Examples of outstanding characterisations
|
132 |
| |
|
II. THE STRUCTURAL MECHANISMS
|
147 |
| |
|
5. STRUCTURE
|
|
A.
The three acts
|
148 |
B.
Plot points (climax, inciting incident, first act/second act transition, twist, etc.)
|
154 |
C.
Examples of construction
|
173 |
| |
|
6.
UNITY
|
|
A.
The three unities (time, place, action)
|
195 |
B.
Other forms of unity
|
205 |
| |
|
7.
PREPARATION, LANGUAGE AND CREATIVITY
|
|
A.
Justification
|
207 |
B.
Audience participation
|
219 |
C.
The grammar of drama
|
225 |
D.
Preparation and creativity
|
253 |
E.
Preparation promotes unity
|
262 |
| |
|
8.
DRAMATIC IRONY
|
|
A.
A powerful tool
|
263 |
B.
Justification for dramatic irony
|
271 |
C.
How dramatic irony works
|
273 |
D.
Properties and applications
|
282 |
E.
Diffuse dramatic irony
|
299 |
F.
Suspense, surprise and mystery
|
303 |
| |
|
9.
COMEDY
|
|
A.
The subject and principle of comedy
|
316 |
B.
How comedy works
|
327 |
C.
The importance of comedy
|
338 |
D.
How to write comedy
|
344 |
| |
|
10. DEVELOPMENT
|
|
A.
From the general to the local
|
346 |
B.
The sequence
|
350 |
| |
|
| III.
THE LOCAL MECHANISMS |
355 |
| |
|
11. EXPOSITION
|
|
A.
Definition and characteristics
|
356 |
B.
How to place exposition
|
359 |
C.
The flashback
|
361 |
| |
|
12. ACTIVITY
|
|
A.
Principle and definition
|
367 |
B.
Overuse of activity in the cinema
|
375 |
C.
Notable examples of activity
|
378 |
D.
Significant and symbolic
|
383 |
| |
|
13. DIALOGUE
|
|
A.
An overvalued resource
|
386 |
B.
Purpose and technique
|
388 |
C.
Witticisms and payoffs
|
397 |
D.
Exploiting irony and stupidity
|
400 |
E.
Activity and dialogue
|
402 |
| |
|
14. EFFET
|
|
A.
Image
|
405 |
B.
Sound
|
408 |
C.
The mise-en-scène
|
410 |
| |
|
| IV.
ANALYTICAL APPLICATION OF THE SYNTHETIC MODEL |
|
| |
|
15.
ANALYSES
|
|
A. The School for Wives
|
412 |
B. North by Northwest
|
424 |
| |
|
| METHODOLOGY
|
|
| |
|
16. INTENTION
|
443 |
| |
|
17. COMPOSITION
|
|
A.
Protagonist - objective - obstacles
|
455 |
B.
The framework
|
461 |
C.
The step outline
|
464 |
D.
The treatment
|
468 |
E.
The full script
|
469 |
F.
General suggestions
|
471 |
| |
|
| |
|
|
APPENDICES
|
|
| |
|
18.
DRAMA AND LITERATURE
|
481 |
| |
|
19.
WRITING FOR CHILDREN
|
488 |
| |
|
20.
SHORT FILMS
|
500 |
| |
|
21.
DOCUMENTARIES
|
512 |
| |
|
22.
WORKSHOP EXERCISES
|
516 |
| |
|
23.
READING A PLAY OR A SCRIPT
|
523 |
| |
|
|
CONCLUSION |
529 |
| |
|
| GLOSSARY |
533 |
| |
|
| INDEX
OF TITLES |
548 |
| |
|
| INDEX
OF PERSONS |
581 |
| |
|
| BIBLIOGRAPHY |
589 |
