Dissertations / Theses on the topic 'Film script'
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Miami, Silas. "Tero Buro: Feature film script." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32801.
Full textPaitaki, Gregory. "Cast-off: Original script for a feature film." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12651.
Full textNisses, Hilda, and John M. Wahl. "Scriptans osynliga arbete : En kvalitativ studie om scriptors syn på scriptayrket i svensk filmoch tv-produktion." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35747.
Full textDorr, Summer. "And Then Okay." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1385.
Full textAnson, Tylyn. "Changes." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/honors_theses/7.
Full textMarshall, Matt, and n/a. "GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?" University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20090106.150522.
Full textVianello, Anna Giulia. "Proposta di traduzione dello script di 'Viy' (2014) , di Oleg Stepcenko." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9225/.
Full textHammersmith, Andy. "Tom, Dick, and Harry." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/960.
Full textCopeland, Kendra G. "Bodies Without Blemish." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/972.
Full textBloore, Peter. "The screenplay business : managing creativity in script development in the contemporary British independent film industry." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/49837/.
Full textBelaubre, Yves. "Le scénario dans l'intention du film." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20074.
Full textSince about twenty years, the American screenplay stood out as model of the script of fiction into cinema and TV production for its narrative performance and its rationality. Designed to insure public success to fiction movies, it subordinates the audiovisual creation to the narrative device, insuring identification of the spectator and its emotional satisfaction. But, in consideration of the artistic ambition of the cinema, its legitimacy is problematic. The present research develops an alternative in the narrative formalization of the movie through a mode of « scénarisation » which subordinates the story to the cinematic discourse. The identification of spectator to the character matters there less than the expression of a vision-hearing of the world
Solano, Callie M. "Satchmo." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1578.
Full textMorris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16632/1/Anthony_Morris_Thesis.pdf.
Full textMorris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16632/.
Full textStånggren, Mikael. "Writing a screenplay : A study in crafting quality stories for movies and television." Thesis, University of Gävle, Department of Mathematics, Natural and Computer Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-215.
Full textThe art and science of crafting superior stories for feature film, television, and computer graphics productions, for both local and international purposes alike, are extremely important. In the artistic sense, this is a glimpse at the key elements in creating successful characters, stories, and environments. In the technical sense, it is a review on how to write a professional screenplay, as well as a comparison between different mediums, methods, and styles of writing. In order to conduct this research and accomplish said goals, material from a variable set of sources, including work by acclaimed authors, as well as professional screenplays and personal experience within the subject was used. The initial hypothesis that was put forth, proved in the end to become the overall result. Although being a field more inclined towards art than science, some of the answer and results came to fall within individual conclusions and opinions, rather than technical facts, as writing is different in style and nature to each and every screenwriter.
Breed, Catharina Adriana. "Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / C.A. Breed." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1671.
Full textDurgin, Chelsea A. "The Redeemer." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/818.
Full textArmstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16446/1/Shayne_Armstrong_-_Monster_Business.pdf.
Full textArmstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16446/.
Full textHart, Blaize Robert. "In Visible Bodies: A Phenomenology of Sexuality and the Creation of Repressive Systems in Film." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158768776757641.
Full textRaveneau, Megan Fay. "A Friend of Robyn." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/916.
Full textGibbs, John. "'It was never all in the script...' : mise-en-scene and the interpretation of visual style in British film journals, 1946-1978." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298747.
Full textScott, Brent Steven. "The Lonely." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1667.
Full textMachado, Renata Guimarães. "Como é que se diz eu te amo: estudo sobre a relação entre narrativa e emoções." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-16022011-123246/.
Full textThis dissertation reports some aspects of the creative process on writing a feature movie script. During the screenwriting, it was attempted to investigate how the narrative can be used to elicit emotions and interest in the spectatorship. Through the review of Cognitivist Film Theory Scholars and Screenwriting Guides, considerations were raised on possible strategies to emotionally involve the viewer while telling the story. To elucidate these strategies, the analysis of the movie It happened one night (1934) follows. Having reached these considerations, the script is presented along with the trajectory of its writing.
Biscalchin, Fernando José. "Processo de criação dos roteiros Cidade de Deus e Tropa de Elite 2 de Bráulio Mantovani." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4730.
Full textThe thesis reconfigures the way to understand the film screenplay production process. The proposal is to offer a critical approach for them to focuses in the field of research about the process of creating the media. A new look can be seem in the construction of Bráulio Mantovani s writing scripts for his films Cidade de Deus (City of God) and Tropa de Elite 2 (Elite Squad 2), from the documentation of their writing processes. Specifically the different treatments of the scripts, notes, e-mails between Director and screenwriter, escaletas (scene headings) and card files will be studied to build the narrative and the characters. The analysis is based on the contribution of scholars of screenplay writers, such as Syd Field, Lajos Egri, Doc Comparato, Luis Carlos Maciel Flávio de Campos, Marcos Rey, John Howard Lawson, Linda Seger, Linda Cowgil. Under an international perspective, we will study aspects of screenplays from the earliest and most representative filmmakers, like Robert Bresson, Dziga Vertov, Sergei Eisenstein, Pier Paolo Pasolini, Andrei Tarkovsky, Jean Epstein, Jean-Luc Godard, Pasolini, Griffith, among others. Also understand a historical panorama about some of the major Brazilian film periods: inicio do cinema national (start of national cinema), a chanchada (the popular comedies), a pornochanchada (the adults popular comedies), o cinema novo (the new cinema), o cinema independente e de autoria (the independent film and authorship) and o cinema de retomada (the cinema of resumption). From the point of view of the studies on the process of creation in the media, the thesis establishes a dialogue with the research of Salles that discusses the creation as a network process. From the analysis of singularities of the processes of the two films that are part of the search, it will be discussed the principles of the screenwriter project studied. It is intended to contribute to both, the bibliography of the field and the creation process
A tese reconfigura a forma de compreender os processos de produção dos roteiros cinematográficos. A proposta é oferecer numa abordagem crítica que enfoca-os no campo da pesquisa sobre o processo de criação nas mídias. Um novo olhar sobre a construção da escrita dos roteiros de Bráulio Mantovani para seus filmes Cidade de Deus e Tropa de Elite 2, a partir da documentação de seus processos de escrita. De modo mais específico serão estudados os diferentes tratamentos dos roteiros, anotações, e-mails entre diretor e roteirista, escaletas e arquivos de cartões de cenas para construção da narrativa e dos personagens. A análise fundamenta-se na contribuição de estudiosos de roteiro roteiristas cinematográfico, tais como, Syd Field, Lajos Egri, Doc Comparato, Luis Carlos Maciel, Flávio de Campos, Marcos Rey, John Howard Lawson, Linda Seger, Linda Cowgil. Sob uma perspectiva internacional, estudaremos aspectos de roteirização a partir dos primeiros e mais representativos cineastas, como Robert Bresson, Dziga Vertov, Serguei Eisenstein, Pier Paolo Pasolini, Andrei Tarkovski, Jean Epstein, Jean-Luc Godard, Pasolini, Griffith, entre outros. Abordaremos também um panorama histórico sobre algum dos principais períodos cinematográficos brasileiro: inicio do cinema nacional, a chanchada, a pornochanchada, o cinema novo, o cinema independente e de autoria e o cinema de retomada. Sob o ponto de vista dos estudos sobre o processo de criação nas mídias, a tese estabelece um diálogo com a pesquisa de Salles que discute a criação como um processo de rede. A partir da análise das singularidades dos processos dos dois filmes que fazem parte do recorte da pesquisa, serão discutidos os princípios direcionadores do projeto do roteirista estudado. Pretende-se contribuir tanto para a bibliografia do campo de roteiro como de processos de criação
Bieging, Patricia. "Potencialização da experiência estética no iCinema: diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-17032017-151852/.
Full textConsidering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.
Moore, Ashley N. "Fisher of Men." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1408.
Full textMcLoughlin, Aaron. "Gravy." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50947/1/Aaron_McLoughlin_Thesis.pdf.
Full textHarris, Bonnie L. "Scrap Metal." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/508.
Full textMahmoudian, Eléonore. "Etude de l'adaptation cinématographique des textes de Hayashi Fumiko par Naruse Mikio." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF006.
Full textIn the early fifties, the Japanese film industry had almost recovered from the restrictions imposed first by the military regime and then from Japan’s defeat in the Pacific War. The industry then prospered rapidly and found in literature the stories needed in order to produce enough movies to comply to the always growing demand of the cinemas. It was in this context that Naruse (1905-1969) realized six movies inspired by Hayashi Fumiko's (1903-1951) works. These movies are exemplary of the relationship between literary institutions and the film industry at the time they were shot. They are also typical of the importance of literature in the production policy of the diverse film studios as well as the manner movie critics received these screen adaptations.Besides the presentation of the contextual and historical aspects, our objective is to identify ways which would help to discover Naruse Mikio's works through the filter of choices made by him at the time of the adaptation, be it when choosing the topic, the story construction or the stage direction. Naruse was able to find a balance between his formal ambitions and the requirements of the story by skillfully elaborating a subdued or “invisible” style. In order to highlight the singularities of his personal style, we have concentrated our effort on the analysis of the diverse elements of our corpus: the films, texts and scripts. In this endeavour Hayashi’s writings are a precious point of reference helping us to determine the precise nature of the relationship the film director had with his subject, with the script as well as the constraints imposed by the frame he was working in
Choo, Christina. "Trend of thought : inspirations for a form of non-linear direction." Thesis, Queensland University of Technology, 2005.
Find full textMaxwell, Nicholas Elliott, and nmaxwel1@bigpond net au. "Black Comedy and the Principles of Screenwriting/The Actions." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081212.123034.
Full textGrimaud, Emmanuel. "La spirale prolifique ou L'histoire du processus cinématographique dans l'Inde contemporaine : du script à la mise en théorie du mouvement." Paris 10, 2001. http://www.theses.fr/2001PA100025.
Full textDawson, CiaraÌn P. "Peadar OÌ GealacaÌin : file agus scriÌobhaiÌ." Thesis, University of Ulster, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422898.
Full textCavaliere, Sandra <1977>. "Gli scritti giovanili di Cesare Pavese." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/33/.
Full textGölz, Hanna [Verfasser]. "Fernsehrealität und Realitätswahrnehmung : Eine Untersuchung zum Einfluss von Scripted-Reality-Sendungen auf Erwachsene / Hanna Gölz." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2018. http://d-nb.info/1160308578/34.
Full textGölz-Weis, Hanna [Verfasser]. "Fernsehrealität und Realitätswahrnehmung : Eine Untersuchung zum Einfluss von Scripted-Reality-Sendungen auf Erwachsene / Hanna Gölz." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2018. http://nbn-resolving.de/urn:nbn:de:101:1-2018053009214275410910.
Full textHsu, Li-Hsin. "Emotional Perception of Death in Animated Films : Sentiment Analysis of Coco and Soul’s Scripts and Reviews." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445901.
Full textCheng, Shing-yip, and 鄭成業. "A contrastive investigation of the use of interjections by male and female speakers in Cantonese and English play, film and televisionscripts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26760009.
Full textSmith, Donna Lee. "Mombasa days : a feature-length film script." Thesis, 1989. http://spectrum.library.concordia.ca/3713/1/ML51331.pdf.
Full text宋淳. "A Critique essay on the film script ." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/qj27t3.
Full textChen, Yu-Hau, and 陳昱昊. "Writer’s Notes on the Film Script \"Splitting\"." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/99275k.
Full textWei, Jacelyn, and 韋徵. "Writer’s Note on Film Script “Brizo Town”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6jm9rm.
Full text國立政治大學
傳播學院傳播碩士學位學程
106
Revolved around the story of Benjamin with his friends and family, “Brizo Town” depicts the life of a group of Fresh Off the Boat high school students who long for a sense of belonging. While facing challenges and conflicts, the students supported each other and grew through their pursuit of friendship, love, and purpose. The life of a FOB entails difficulties and struggles, the story of “Brizo Town” hopes to give consolations and directions to those who may have become lost in their own similar journeys.
Wang, Li-Wen, and 王莉雯. "A Critique Essay on Film Script SURVIVING HAI." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6mf29m.
Full text國立臺北藝術大學
電影創作學系碩士班
103
Set in a fishing village, Surviving Hai is a crime film that combines three genres, including “crime”, “detective” and “murder mystery”. In the story, a pathologist, Chou Chien-sheng, arrives in a remote isolated fishing village to investigate a self-immolation incident that happened during a protest against a petrochemical corporation. But to his surprise, he not only accidentally discovers some mysterious fluorescence in the body but an implication of a murder and insurance fraud. After a lengthy investigation, Chou comes to realize that the whole village is trapped in a big lie carefully constructed by the government and the petrochemical corporation. Consequently, Chou gets himself into a life-threatening crisis. During his fight against the dark forces, Chou becomes more and more courageous. In the end, his strong sense of justice liberates the villagers from a war of money and power. The estimated running time of the film is 110 minutes. The main plot centres on how the pathologist solves all the mysteries while two subplots, including one that reveals the conflicts the villagers face when battling for survival and the other that shows the arguments between Chou and his prosecutor ex-girlfriend over the idea of justice are unfolded at the same time. The core concept of this script is inspired by Michael Clayton (2007), and the structure and the genre are influenced by The Constant Gardener (2005). Shot in the form of a thriller, serious matters such as environmental pollution and the collusion between the government and corporations are conveyed in the film. It is hoped that while the audiences enjoy an entertaining commercial movie, they will also think about environmental protection issues. The background of this thesis is set against the oil and petrochemical pollution on the Taiwanese coast and the fishermen’s plight. The research methods adopted in this project include in-depth interview, field trip and literature review. By these means, the information on the work of public prosecutors and pathologists, the landscape of Kaohsiung Port and the petrochemical pollution along the Taiwanese coast is collected. This thesis documents the process of how the script was initiated and how it evolved from a concept to the third draft. In the last chapter, the author provides the conclusion of the self-assessment of the script and suggestions for further improvement.
Shu, Wei Chieh, and 舒偉傑. "The Film Script and Description of "Feng Chun"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/naau9z.
Full text國立政治大學
廣告學系
104
"Feng Chun" is an original movie script. The story is about how the mainlander family fled away from war to Taiwan, and how they face life’s problem, conflicts and relationship. The thesis consists of three parts: the literature review, script and appendixes. In the first part, the background of the story is mentioned, and then documents of the female mainlanders in their family and the conflict between mother and son/daughter are researched and filed. And the following are the life story of each role and the plot design. And then an overview of the script writing is presented. In the end, the outlined plot of "Feng Chun" is displayed in appendixes.
HSIN, HSIAO-LAN, and 辛曉嵐. "A Critique Essay on the Film Script AGAPE." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/c464u4.
Full text國立臺北藝術大學
電影創作學系碩士班
105
Agape is a script for a full-length dramatic film. It is a day in the life of protagonist Ying-Wen, spent on a small island. Ying-Wen, 35, has lost the sense of direction in his life after both of his parents died from illness. His cousin invites him back to the island of his childhood to look after his aunt and her stroke-stricken husband. He gets reacquainted with his first love and a good friend from high school. Emotions stirred up by these different kinds of love and attraction (familial, friendly, and physical) produce sparks which rekindle his passion for life. After a near-death experience while drowning, Ying-Wen is born again and opens his heart once again to love. The film is an encouragement to “love as if you had never been hurt before.” The plot comes from the author’s real life experience. The author wants to take the reader on a journey to contemplate this question: Is life worth living if it is condemned to nothingness in the end? The movie is framed by a field survey in which psychological studies of bereavement are collected in order to better understand the protagonist’s mindset. The movie shares spiritual and stylistic affinities with such movies as Taste of Cherry, Good Will Hunting, Still Walking, and Before Sunset. Faced with life’s big questions, perhaps what we need is not an answer but a state of mind. The author wishes to create a heart-warming movie that is honest while eschewing naiveté or sophistication. Finally, the author’s desire is to continue writing stories which can stand on their own yet ultimately find their proper places in the grand jigsaw puzzle of life, in the spirit of Annie Proulx when she wrote Close Range.
SHEN, PEY-JU, and 沈珮如. "A Critique Essay on the Film Script UNUSUAL." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/38504973353426469452.
Full text國立臺北藝術大學
電影創作學系碩士班
105
"Unusual" is a story with elements from real cases in Taiwan society, in the genre of crime and detective film. The story describe police officer Ah-ching find out the truth about a case 20 years ago when he is investigating a serial killing case. However, statute of limitations of the old case has been passed. Could he seek out the lost justice from cracking the new case at hand? The author takes case study and literature view method as early research methods for the script. Case studies include human rights groups and the prisoner, clarify the major issue author wants to discuss, and the point of view of justice by discussing with the subject. Literature review include professional books, such as books written by the police and forensic professionals, and knowledge background books, such as Ma Chuanzhen's "criminal psychology research", and topic discussion books, among which Rawls "A Theory of Justice" has been studied as the main discussion direction. This thesis explores how the differences among film genres influence the main character to choose justice, according to Juan José Campanella's "The Secret in Their Eyes" (2009). In addition, the discussion compared the related film from the United States, South Korea, Japan, Europe, and defined criminal detective film genre and its elements.
Saeed, Zanjani Ali. "Screenplay : movie script or literature." Thèse, 2006. http://www.archipel.uqam.ca/875/1/D1364.pdf.
Full textChiang, Hsiu-Chiung, and 姜秀瓊. "A Critique Essay on the Film Script “A Wave”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/za4cnq.
Full text國立臺北藝術大學
電影創作研究所
98
ABSTRACT The film script “A Wave” is an original film script. The story is about an art major student Xiao-po, who falls in love with his art history teacher Wen-chi. However, Wen-chi loves Zi-yi, who is a hair stylist. By developing the love affairs among these three young people, the play describes how these three searches for the meaning of their own lives. The writer digs up the potential meaning behind the play write by creating this critique essay, which is to break the restrictions within the society. And return to human nature. Moreover, hope for people to accept the differences between each other. The writer follows the nature of the roles and gives each of them a persuading characteristic. When the roles come to life, the writer follows their footsteps to observe what is happening in their lives and takes the elements to make into a story. The film script contains themes to lead the discussion to love, death, sea, ritual, education and gender. In the second chapter, the writer describes how the script begins to form and the process of the script’s outline. In chapter three, the writer analyses the meaning of the themes in the script. In chapter four, the writer compares the emotional expressions in the movies Jule and Jim, The Rider, La rayon vert, and Villa Amalia to the script. In chapter five, the writer explains that the script does not follow the rule of three-act-play but develops by the content. This chapter also contains the background information of the roles.
Chen, Wan-Yu, and 陳宛妤. "A Critique Essay on the Film Script "Bus Stop"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/tc643h.
Full text國立臺北藝術大學
電影學系碩士班
98
"Bus Stop" is the film script of a true story. The script opens with a belated wedding banquet and traces the couples’ ups and downs in their married life. The story line, forty-five years of it, includes threads of the past brought to light in the present. The script is realistic. It possesses a warm, touching and humorous tone in its representation of the local atmosphere and the landscape of Taiwan. The native Taiwanese dialogue is authentic. It is also innovative in that it replaces the traditional linear three-act structure with an interlinking narrative wandering through different time zones and places. In so doing the storyline endows the movie with two distinct artistic voices: the realistic style of a documentary film and the characteristics of a nostalgic and engaging movie. The opening scenes of the film are deliberately exaggerated into a composition of the 1960s beauty fashion. Thereafter, the simplistic style of 1970s distinguishes the emotional plots, accompanied by the narrative as subplots, building a strong feeling of folkways. It is a film for Taiwanese as well as for wider strata of Chinese communities. This critique illustrates the inspiration and writing process of this script in a literature review and discusses the subject “persistent Taiwanese traditional women,” locating the script in specific genres comparing it with related works of that genre. The critique also adopts a systemic analysis on the narrative structure and characters and pragmatically shows the prospective plan and schedule of this project.