The soul of screenwriting: on writing, dramatic truth, and knowing yourself
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Continuum
2008
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | 478 p. ill. 25 cm |
| ISBN: | 9780826428684 0826428681 9780826428691 082642869X |
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Datensatz im Suchindex
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| adam_text | Titel: The soul of screenwriting
Autor: Cunningham, Keith P
Jahr: 2008
ne Sou On Writing , Dramatic Truth, and Knowing Yourself Keith Cunningham A continuum NEW YORK • LONDON
Contents Preface xi Part I THE LIVING STORY __________ 1 The Night of the King Coho 3 Creative Process and Created Product as an Interlocking Pattern 3 Screenwriting Is Storytelling 6 The Story Field: Four Compass Points 9 Night of the King Coho 14 2 Mirrored in the Story 17 Outside Encountering Inside 17 Encounter and Craft 22 Internal Software: The Café of Inner Voices 24 Creative Darkness 26 The Entry Point: Uncertainty 29 The Creative Approach to Resistance 32 Great Craft: Through Encounter to Authentic Imagination 36 Projection and Reflection as Screenwriting Skills 41 Screenwriting and Empathy 46 Internal Software: Focusing 48 3 The Mythic Dimension of Screenwriting 53 Myth and Drama 54 The Writer’s Encounter with the Hero 60 Persona and Shadow 64 Internal Software: Projection and Screenwriting 66 Call and Separation 67 Crossing the Threshold 79 Descent 85 Initiation: Meeting the Secret Mover 88 Return to the Day World 94 Sacred Marriage 98 v
vi Contents 4 Need versus Mode: The Core of Conflict 101 The Hero Is a Carrier of Values 103 You Can’t Always Get What You Want— But You Get What You Need 106 Exclusion Creates Desire 108 Inappropriate Modes Lead to Conflict 112 Character and Plot: Need/Mode Tension Structures the Conflict 11 7 Modes Lead to Plot Goals 120 The Universal Need Is the Throughline Subtext of the Movie 125 Character Development and Character Arcs 126 Projection and the Archetypal Identity of Character 128 Iconic Heroes and Shadow Projection 133 The Antagonist as Dark Mirror 136 Reconciling Mode and Need: The Dramatic Synthesis 139 Internal Software: Memory Banks 141 5 The Story Molecule 144 Character Webs 144 From Character Web to Story Molecule 145 The Inner Ring of Character 151 Dramatic Trajectory 153 Character and Point of View 158 First-Person Point of View 159 Second-Person Point of View 161 Third-Person Point of View 163 Point of View and Character Growth 166 The Emotional Network: Where Drama Becomes Visible 172 The Two Key Relationships within the Emotional Network 173 Character Orchestration in the Emotional Network 176 Internal Software: Character Webs 180 6 Character Webs and Story Worlds 181 Dramatic Unity and Dramatic Stakes 181 The Lady and the Tiger 184 The Emotional Network as the Barometer of Change 192 Emotional Network: Orchestrating Subplots 195 Ensemble Movies 199 Plot in the Context of the Story Molecule 203 Internal Software: Childhood Story/Reverse Perspective 205 7 Orchestrating Character and Style 209 Designing Stories 209 Internal Software: The Forms of Feeling 215
Contents vil Story Universes: Idiom, Genre, and Style 218 Idioms 219 Realism 221 Romanticism 224 Expressionism 228 Metafiction: The Synthetic/Reflexive Idiom 232 Genres 235 Thriller 238 Melodrama 243 Genre Blending 2 51 Icons and Images 254 Standing for Something: Characters, Icons, and Archetypes 254 Part II PLOT AND TH E DYNAMICS OF CREAT ION____ 8 The Soul of Drama 265 The Basic Pulse of Drama 266 The Plot Curve Structures Energy 269 The Power of Dramatic Questions 273 The Flow and the Act Breaks 278 Beneath the Waves 282 Catharsis and Resolution 287 The Dramatic Curve Is You 288 9 The Journey in Four Movements 291 The First Dramatic Movement: Setting the Stakes 293 First Image, First Impact 293 Catalyst as Call 294 Consequences: The First Stone Thrown into the Pond 297 Threshold Crisis and Threshold Crossing 298 Crisis and Value 301 The Second Dramatic Movement: Wounding and Recovery 303 Rising Action, Rising Tension 303 Descent = Breakdown = Abduction = Regression 306 Core Crisis: The Crucible of Character 307 The Third Dramatic Movement: Setting the Double Bind 313 Steps to a Double Bind 315 Catastrophe: The “Worst Thing 319 Loss of Control and Ventilation 322 The Fourth Dramatic Movement: Grow or Die, Destiny 324 The Calm Before the Storm 326 The Return Threshold 327 The Ripple Climax 330 Resolution: To See More Clearly 333
vili Contents 10 Act, Sequence, Scene, Beat: The Dramatic Present 337 The Layers of Dramatic Structure 338 The Act 339 The Sequence 340 The Scene 343 The Beat 346 Action Is Not Activity 347 Text and Subtext 350 The Need Is the Throughline Subtext 353 Beats, Conflict, and Character Orchestration 354 Building Conflict in the Scene 357 Deep Music 363 Hanging Drama 371 Practicing with Beats and Scenes 372 Internal Software: Imaginai Anthropology 373 11 The Sixteen Story Steps 377 A New Paradigm 377 Uncovering the Bones 380 Working with the Story Steps 385 Traveling the Spine: The Plano 390 Movement #1: Story Steps 1-4 394 Story Step #7; Establishing 394 Story Step #2: Catalyst 396 Story Step #3: Forward Movement 398 Story Step #4: Threshold Crisis 399 Movement #2: Story Steps 5-9 401 Story Step #5: Woundedness 402 Story Step #6: Shift to the Emotional Network (the Primary Relationship) 403 Story Step #7: Reminder That Outer Plot Stakes Are Rising 404 Story Step #8: Forward Movement in the Relationship 406 Story Step #9: Core Crisis 407 Movement #3: Story Steps 10-13 410 Story Step #10: Deepening 411 Story Step #11: Polarization of Opposites 4 13 Story Step #12: Breaking Point 4 14 Story Step #13: Catastrophe 4 15 Movement #4: Story Steps 14-16 417 Story Step #14: Calm Before the Storm 4 17 Story Step #15: Climax 4 19 Story Step #16: Resolution 4 2 1
Contents ix 12 The Creative Journey of Story Development 425 Story Essence and Value 425 Managing the Collaborative Process 427 Creative Chaos 431 Beyond the Creative Threshold 434 Realms of Creative Darkness 437 The Structure of Creative Breakthrough 442 Separation 443 Descent 446 Initiation 449 Return 449 Resistance and the Journey 453 Sustaining Creativity 456 Epilogue: Writing Practice Is Life Practice 459 Patterns That Connect 460 The End Is the Beginning 476 Index 479
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| spelling | Cunningham, Keith Verfasser aut The soul of screenwriting on writing, dramatic truth, and knowing yourself Keith Cunningham New York Continuum 2008 478 p. ill. 25 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Motion picture authorship HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017080281&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Cunningham, Keith The soul of screenwriting on writing, dramatic truth, and knowing yourself Motion picture authorship |
| title | The soul of screenwriting on writing, dramatic truth, and knowing yourself |
| title_auth | The soul of screenwriting on writing, dramatic truth, and knowing yourself |
| title_exact_search | The soul of screenwriting on writing, dramatic truth, and knowing yourself |
| title_full | The soul of screenwriting on writing, dramatic truth, and knowing yourself Keith Cunningham |
| title_fullStr | The soul of screenwriting on writing, dramatic truth, and knowing yourself Keith Cunningham |
| title_full_unstemmed | The soul of screenwriting on writing, dramatic truth, and knowing yourself Keith Cunningham |
| title_short | The soul of screenwriting |
| title_sort | the soul of screenwriting on writing dramatic truth and knowing yourself |
| title_sub | on writing, dramatic truth, and knowing yourself |
| topic | Motion picture authorship |
| topic_facet | Motion picture authorship |
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