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  • Writer's pictureDorsa Sajedi

Film Project | Dramaturgy Seminar 2

Explicit Dramaturgy
  • The skeleton, not necessarily 'visible', acts as the secret of storytelling.

  • Identified through 'slow thinking', things we don't notice straight away. It needs to be further inspected, and viewed multiple times to appreciate and understand.

'Open' and 'Closed' forms
  • Closed form: this pattern of storytelling is more conventional in films of western regions/European etc.

Prelude / Overture / Upbeat - i.e. before the title-sequence
  • Optional but very helpful

Alternative - open form / modern & postmodern
  • Inversion: Switching parts around, i.e. the classic "You're probably wondering how I got here".

  • Background story/subplot/'frame story': Story within a story, two levels of narration.

Act 1 - First Scene
  • Genre, where, when, who, perspective

  • Protagonist-versus-antagonist=confrontation

  • Incident: the conflict is replaced by an incident to start the action

Act 3
  • 'Retarding moment': an event that leads to the deceptive hope of the hero's (still conceivable) salvation.

  • Showdown/resolution of the conflict

  • Ending a story, closure/cliffhanger

Open Form
  • Vanishing point/'point of convergence' = essential meaning

  • Individual and public/collective level of narration

  • Heroic anti-heroes, centre figure and central self (for example the protagonist of Hiroshima Mon Amour by Alain Resnais)

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