1. CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

2. CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES T HEME P LOT C HARACTER + Setting Narrative Structure

3. Genre  kind / type / category  Audience expectation CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

4. Genre Andrew Tudor (1974) o Formal elements (semantic) o Narrative (syntax) iconography tone costume staging setting stars lighting music cinematography Genre typically adhere to a formulaic way of telling a story. CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

5. Genre Rick Altman (1984) Traditional American Gangster Semantics Prohibition era, speakeasies, bootlegging, jazz, guns, suits, flappers, police oppression, violence, class and individualism. Syntax Alcohol and criminality will lead to the downfall of American society. Exploration of the underclass. Critique of the ‘American Dream’. Examples The Public Enemy (William A. Wellman, 1931), Little Caesar (Mervyn Leroy, 1931) and Scarface (Howard Hawks, 1932). CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

6. Genre Rick Altman (1984) Italian American Gangster Semantics Immigrant life, Little Italy, xenophobia, family, opera, guns, drugs, mafia/mob, violence, class, police, pasta, corruption and Catholicism. Syntax Celebration of the anti-hero. Questioning of capitalistic materialism. Exploration of the underclass. Critique of the ‘American Dream’. ExamplesThe Godfather trilogy (Francis Ford Coppola, 1972-90), Goodfellas (Martin Scorsese, 1990) and Donnie Brasco (Mike Newell, 1997). CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

7. Genre Rick Altman (1984) African American Gangster Semantics Inner-city ghettos, gang culture, rap, drugs, guns, ‘bling’, violence, class, brother-hood, drive-by shootings, racism, nihilism. Syntax Exposing the failings of American race relations.. Results of disenfranchisement. Exploration of the underclass. Critique of the ‘American Dream’. ExamplesNew Jack City (Mario Van Peebles, 1991), Boyz ‘n the Hood (John Singleton, 1991) and Menace II Society (Albert and Allen Hughes, 1993) CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

8. GenreDefining criteriaDifferentiating criteria WesternAmerican West Gangster film1920s urban American EpicHistorical subjectBiblical or ancient history War filmSpecific historical conflict Film noirPostwar America HorrorIntended to horrify ThrillerIntended affectIntended to thrill ComedyGeneration of laughter MusicalPresence of diegetic song and dance performance Action movieFormal criteriaPresence of action set-piece PornographyPresence of sex acts CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

9. GenreDefining criteriaDifferentiating criteria Science fictionFuturistic technologies/ future worlds FantasyImpossible worlds/ fantastical characters DisasterNatural or man-made catastrophe Crime filmSubject matterCriminal and investigatory activities MelodramaDomestic drama and heterosexual romance Road movieJourney or road-trip, usually across America Film noirCrime and institutional corruption Children’s filmsTarget audienceStories designed for consumption by children Family movieStories designed for consumption by family groups BlockbusterStyleSpectacular events Film noirChiaroscuro lighting/ dark mise-en-scene CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

10. 01_ action Action stories have a lot of activity, effects, and, well, action. They are fast paced and designed for pure audience escapism. They are primarily plot driven. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

11. 01_ action Some subcategories are: _Superhero: The hero has exceptional power or prowess. _Underdog: The hero is misjudged and not thought to have power. _Revenge: The hero wants revenge against those who have wronged him. _Savior: The hero must save everyone. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

12. 02_ adventure Adventure stories are just that – adventurous, but they are also filled with risk and the unknown. When someone skydives, he is taking a chance, and that is what creates a thrill. Adventure stories are all about seeking something outside of ordinary experience that can be hazardous. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

13. 02_ adventure Some subcategories are: _Expeditions: The hero is venturing into the unknown. _Treasure Hunts: The hero is searching for something, usually fortune. _Discovery: The hero finds something thought impossible to find or something thought impossible to prove the existence of. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

14. 03_ children Children’s books are the same as adult books when it comes to Genre. For example, there are mystery children’s stories (“What is that monster in the woods?”). And there are journey children’s stories (“Will Billy find his way home?”). The difference is that you are writing for a specific audience at a specific reading and comprehension level. Children see the world much differently than adults. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

15. 03_ children Some subcategories are: _Special Begins: The hero meets a wolf, the tooth fairy, Santa Claus, or any other type of unusual character you can come up with. _Lessons to Learn: The hero learns a moral or other type of lesson. _Accomplishment: The hero did something all by herself. _Animals: All the characters can be animals as in an animal fantasy story. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

16. 04_ comedy Comedies are subjective and as varied as Who Framed Roger Rabbit and Seinfeld. What one person thinks of as funny may be completely different from what another person thinks is funny. The writer of this Genre must be willing to take risks because, as most stand-up comics will attest, it is a tough business. The audience may not laugh at all. Comedies usually exaggerate situations, language, and characters for effect. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

17. 04_ comedy Some subcategories are: _Satire: Irony, sarcasm, or caustic wit used to attack or expose. _Parody: A mockery or work that imitates the style of another for comic effect or ridicule. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

18. 04_ comedy Some subcategories are: _Dark Comedy: A story with disturbing elements and morbid or grimly satiric humor. _Slapstick: Comedy of physical action; i.e., hero steps on the end of a rake and gets hit in the head. _Screwball: Impulsively whimsical or foolish or a totally unsound crazy scheme. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

19. 05_ drama Dramas are serious stories that portray realistic characters in realistic settings. They can also be very over-the-top, exaggerating the seriousness of the problem and the character’s reactions to those problems. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

20. 05_ drama Some subcategories are: _Realistic: The drama is very real and everyday type. _Over-the-Top: Exaggerated problems and reactions to them are presented; characters may be ‘drama queens.’ Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

21. 06_ fantasy Fantasies transcend the bounds of human possibility and physical laws. Magic, myth, and impossibilities abound. Other worlds are explored, characters can have supernatural powers, and the laws of physics are challenged. Anything is possible. Just be careful to define the laws of the world you are creating and stick to them. The reader will believe the hero can fly faster than a speeding bullet if you define why and how he does this. Never contradict that explanation or you will lose your reader. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

22. 07_ horror Horror stories are meant to frighten the audience. Challenging common fears works best here because everyone can relate to them, such as being left all alone in the dark, having a car break down in the middle of the night on a deserted street, or getting into an elevator with a scary- looking man. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

23. 07_ horror Some subcategories are: _Violence: Many horror stories have violence or the threat of violence. _Dark Aspect of Life: Other types of horror expose the darker, more sinister aspects of human nature. _Psychological: This type of horror plays with the reader’s mind. Think Dial M for Murder. It is the helpless situation that evokes fear. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

24. 08_ mystery In a Mystery, a character needs to answer a question that solve something that is unknown – Where is the missing child? Who killed the CEO? Who stole the money? This Genre is heavy on the rewriting stage, as once the answer is found, you have to go back and make sure clues are planted. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

25. 08_ mystery Some subcategories are: _Hard-boiled: These are gritty ‘noir’ stories with grim details and tough, hard-nosed detectives. _Cozy: Country houses and villages, with peaceful and genteel exteriors, are usually the setting. There is minimal violence and everything is nicely wrapped up by the conclusion. _Police: The protagonist is usually on the police force and the crime is solved by using the forces’ resources and procedures. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

26. 08_ mystery Some subcategories are: _Detective: The protagonist is usually a licensed private investigator or ex-cop who works alone or with a larger agency. _Amateur Detective: Nosy neighbors and inquisitive civilians get involved in an Amateur Detective story. Sometimes they are meddlers. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

27. 09_ thriller Thrillers contain intense excitement and anticipation. The audience is left in the dark most of the time, figuring things out as the characters do. Who is just around the corner? Will the hero get caught? Who is lying? Will the car keep running long enough for the hero to make it home? Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

28. 10_ romance Romances deal with love and affairs of the heart. The characters are often passionate, with unfulfilled desires and dreams. Two characters meet, fall in love, and try to form a bond against all odds. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

29. 10_ romance Some subcategories are: _Contemporary: Stories are set in the present day. _Fantasy: Stories deal with supernatural themes. _Historical: Stories take place during a specific time period with all the clothing, mores, and events of that period. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

30. 10_ romance Some subcategories are: _Inspirational: Stories inspire the reader and evoke hope for love. _Regency: Monarchs, rulers, and kings abound. _Romantic Suspense: Elements of suspense drive the romantic forward. _Time Travel: One character travels across time to meet the other one. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

31. Some subcategories are: _Paranormal: One character lives in regular reality while the other character has paranormal abilities of some sort. _Religious: The love story is governed by religious rules and customs. _Multicultural: Characters of different cultures are brought together, or characters from a nondominant culture are explored in depth 10_ romance Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

32. 11_ science fiction Science Fiction stories are based on new or futuristic technological or biological advancements. Inventions abound, whether it’s a new type of law, as in Minority Report, or a new way to travel through space. This Genre has the most fun with the ‘What if?’ question writers love to ask. Anything is possible here. It just has to be made believable or at least probable. Set up the rules of the world you are creating and stick to them. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

33. 11_ science fiction Some subcategories are: _ Supernatural: Stories include gods/goddesses, ghosts, miracles, aliens, vampires, monsters, demons, psychic, angels, fairies, unusual powers and abilities. _Realistic: Stories take normal everyday situations and twist them into a shocking conclusion. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

34. 12_ western Westerns come mainly from American writers and the American film industry. They involve settings in the Wild West, with a feeling of the open range. Westerns have themes of honor, redemption, revenge, and finding one’s identity or place in life. Genre CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

35. The workflow CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

36. THE WORKFLOW 01_ Research and planning 02_ Premise and Character Bio sheet 03_ Synopsis and Plot Outline 04_ Treatment 05_ Screenplay 06_ Shooting script 07_ Storyboard CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

37. __ Character Bio Sheet Make your characters to come to life by describing every single detail. Name_ Gender_ Age_ Height & Weight_ Appearance/Body structure_ Profession_ Education_ Intelligence_ Ethnic background_ Childhood_ Environment_ Health_ Dreams_ Need/Purpose_ Care_ Fear_ Flaws_ Idiosyncrasies_ How others view the character_ THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

38. __ Synopsis Someone’s killing our superheroes. The year is 1985 and super heroes have banded together to respond to the murder of one of their own. They soon uncover a sinister plot that puts all of humanity in grave danger. The super heroes fight to stop the impending doom, only to find themselves a target for annihilation. But if our super heroes are gone, who will save us? THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

39. __ Synopsis For six years, Washington D.C. has been murder-free thanks to astounding technology which identifies killers before they commit their crimes. But when the chief of the Percrime Unit is himself accused of a future murder, he has just 36 hours to discover who set him up – or he’ll fall victim to the “perfect” system he helped create. It’s a mind-blowing action thrill that’s such an achievement, it “reminds us why we go to the movies in the first place” (Roger Ebert, Chicago Sun-Times). THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

40. __ Synopsis Toplined in style by Hugh Grant and Julia Roberts, this romantic comedy, couched as a mo-dern fairytale, about a shy London bookseller who falls for a Hollywood megastar, Grant’s William Thatcher is a bookseller in Notting Hill, and his circle in the north London district includes a mad, unwashed Welshman, Spick (Rhys Ifans), with whom he shares a house. William’s unspectacular life changes one day when Anna Scott (Roberts), the planet’s most famous lm actress, walks in alone and buys a book. She’s friendly in a professional way, he’s starstruct and there it would end – except... THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

41. __ Plot Outline What happens in the story, breaking down into units, scenes, or sequences. THE WORKFLOW In an empty street in Privet Drive, DUMBLEDORE lights up ‘the lighter’ in his hand. A CAT transforms to McGONAGALL, she appears there and talk to Dumbledore about HARRY. HAGRID rides a ‘flying motorcycle’ lands to meet them. There is a BABY in his hand. Hagrid leaves the baby in front of a house. Dumbledore leaves a letter with the baby. They say goodbye to the baby. TITLE: HARRY POTER CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

42. __ Structure Graph The graph represents story intensity. It indicates the exposition, an intensifying conflict, a climax, and a resolution. 0 10 20 30 40 50 60 70 80 90 100 110 120 100 0 STORY INTENSITY TIME LENGTH OF THE STORY IN MINUTES THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

43. The Story Structure Graph (Example: The Bourne Identity) 0 10 20 30 40 50 60 70 80 90 100 110 120 100 0 2 4 8 91113 15 16 17 20 21-22 23-24 25 26 27 29 30 31 32 33 CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

44. EX = Exposition CO = Conflict CX = Climax R = Resolution 1.EX: Bourne is rescued at sea. 2.EX: CIA Headquarters with Conklin. 3.EX: Bourne at sea and docks. 4.EX: Switzerland; Park police fight. 5.EX: Wombosi on TV; Abbott and Conklin. 6.EX: Swiss bank safe deposit box. 7.EX: U.S. Embassy lobby. 8.CO: U.S. Embassy chase. 9.CO: Bourne meets Marie. 10.EX: CIA calls in all special agents. 11.CO: Drive to Paris. The Story Structure Graph (Example: The Bourne Identity) CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

45. EX = Exposition CO = Conflict CX = Climax R = Resolution 12. EX: CIA traces Marie. 13. CO: Roadside diner. 14. CO: Paris apartment arrival. 15. CO: Paris apartment fight. 16. CO: Gare du Nord Station. 17. CO: Police chase the Mini Cooper. 18. EX: Wombosi at the Morgue. 19. CO: Hotel; Marie’s haircut. 20. CO: Wombosi is killed. 21. CO: Hotel Regina. 22. EX: Bourne discovers a link between Morgue and Wombosi. The Story Structure Graph (Example: The Bourne Identity) CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

46. EX = Exposition CO = Conflict CX = Climax R = Resolution 23. CO: Country farm arrival. 24. EX: Country farm; sleeping children. 25. CO: Country farm fight and Marie’s exit. 26. CX: Bourne calls Conklin. 27. CX: Meeting on Point Neuf. 28. CX: Bourne confronts Conklin. 29. CX: Bourne remembers his mission. 30. CX: Staircase fight. 31. R: Conklin is killed. 32. R: Abbott presents a new plan. 33: R: Bourne finds Marie. The Story Structure Graph (Example: The Bourne Identity) CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

47. __ Treatment Film treatment (or treatment for short) is a piece of prose. There is controversy about the length a treatment can be. Some say up to 60 pages, but typically 7-12 pages. The point of the treatment is to communicate your story as quickly as possible, so brevity without sacrificing juice is the key here. The treatment should read like a short story and be written in the present tense. It should present the entire story including the ending, and use some key scenes and dialogue from the screenplay it is based on. THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

48. Screenplay Style Font: Courier Size: 12 pt Standard: A4 paper One page equates to ten minutes of screen time. Written: Present tense Use all caps for names that are mentioned for the first time Components: - Slug lines - Descriptions (Brief) - No Dialogue Regular Style Font: Usually Arial, Courier, or Times New Roman Size: 12 pt Standard: A4 paper One page equates to ten minutes of screen time. Written: Present tense Use all caps for names that are mentioned for the first time Components: - Descriptions (Brief) - No Dialogues (except some key dialogue) __ Treatment THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

49. __ Screenplay Screenplays are not intended for audiences to read as they would a novel. Rather, they used as a production tool for the director and crewmembers in the development of a film, game, or animation. The screenplay has become the Hollywood standard, which includes several elements such as the slug line, scene description, and dialogue. THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

50. . _ Slug Lines Description Dialogue INT. or EXT. LOCATION – DAY or NIGHT __ Screenplay THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

51. __ Storyboard Storyboards are a series of sketches that are used as a planning tool to visually show how the action of a story unfolds. The closest visual relation to the storyboard is the comic strip minus the dialogue balloons. But whereas comic strips entertain, the storyboard is a tool that facilitates production. The main purpose of the storyboard is to clearly convey the narrative flow of a story by defining the challenges and problems of a project. Storyboards also assist in the timing of a sequence, experimenting with camera angles, movement, and continuity amongst the elements within the frame. THE WORKFLOW CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

52. Storyboarding CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

53. Theatrical trailer (5%) _ Aspect ratio _ Pictures _ Arrows _ Scene/Shot no. _ Action description _ Camera framing _ Camera angle _ Camera movement _ Visual effects _ Dialogue _ Sound effects _ Background music _ Transition Storyboarding CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

54. Theatrical trailer (5%) _ Aspect ratio _ Pictures _ Arrows _ Scene/Shot no. _ Action description _ Camera framing _ Camera angle _ Camera movement _ Visual effects _ Dialogue _ Sound effects _ Background music _ Transition Storyboarding CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

55. Theatrical trailer (5%) _ Aspect ratio _ Pictures _ Arrows _ Scene/Shot no. _ Action description _ Camera framing _ Camera angle _ Camera movement _ Visual effects _ Dialogue _ Sound effects _ Background music _ Transition Storyboarding CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES

56. References: Block, B. The Visual Story: Crafting the Visual Structure of Film, TV and Digital Media. Oxford: Focal Press, 2008. Etherington-Wright, Christine and Ruth Doughty. Understanding Film Theory. London: Palgrave MacMillan, 2011. Nelmes, J. Introduction to Film Studies. New York: Routledge, 2007. CA2012 S TORYTELLING FOR C OMMUNICATION M AKING M OVIES