Motivation

Motivation

l  Kristin Thompson: Each scene should be associated with its purpose, which is to say that the outline of a play should comprehend: First‘cause’ or beginning; secondly, development; third, crisis; fourth, climax or effect; fifth denouement or sequence.

Like this film，although just having 40 minutes，each scene has its purpose

l  These structural ideals are not specific to comedy. The guidebook is proffering advice on general compositional principles. These principles extend beyond issues of structure. They also concern motivation: the extent to which each ‘scene’ should have a ‘purpose’, a justification, and the forms that purpose can, or should, ideally take.

l  The extent to which this is so is particularly apparent in the way happy endings are handled in comedy. David Bordwell’s discussion of happy endings in Hollywood is the interference of other hands.again worth quoting here: the happy ending succeeds depends on whether it is adequately motivated.

l  Screenplay manuals are dissatisfied with forced or tacked-on happy endings. Must be extricated in ‘a logical and dramatic way that brings them happiness’.

l  overall，the unmotivated happy ending is a failure, resulting from lack of craft or the interference of other hands.

story and structure

• l  Stories with happy endings-----implies a narrative form.
  Narrative : story and structure
  l  According to Evanthius, then, a narrative comedy consists, or should consist, of the following components or functions in the following order: a protasis, or exposition, an epitasis, or complication, a catastsis, or complication, and epitasis, or resolution.
  l  First there is a protasis, during the part of the film we are introduced to the principal protagonisis (usually through the device of having them introduced to one another).
  l  Next comes the epitasis, Thanks to Nadia’s drunken behavior, the dinner is disrupted.
  l  Now comes the catastasis.
  l  The catastrophe comes at the last minute. According to neoclassical theory, the catastrophe consists, or should consist, of a definitive peripeteia, or reversal of fortune.
  l  In the case of Bland Date, for instance, one cansee that there are two potential catastrophes corresponding to the two different instances of complication, they echo and invert one another.
  l  Alcohol, meanwhile, emerges as an element with a number of important functions. It is responsible for the complications comprising the epitasis. And it is the agent enabling the resolution of the catastasis.
  
  

broadway task

This is a good work, we get a good comment. However, there was a drawback that is shoot, so we need practice more about that.

                                  

Broadway: shooting practice

This is our shooting task in broadway cinema. And we found that there were some shortages need to improve: 1, focus out   2, recording control (the voice sometime big sometimes small) 3, exposure

The advantage is that we  greatly organised the plot.
                                                 

Comedy and narrative

• Bordwell goes on to point out, however, that in certain circumstances causal motivation can be abandoned for, or intermingled with, coincidence, Luck, Fortune, Fate or the intervention of the supernatural.

an important point comprise the epitasis.  When the guy talking, the bad thing will happen.
And also put Luck and Suoernatural and Fate in there.

The applicability of this marrative model to comedy

  Key words:  instances echo and invert one another.
                      an important function comprise the epitasis.  
                     motivation: each scene should have a purpose,and the forms that purpose can, ideally      take.The unmotived happy ending is a failure, resulting from lack of craft or the interference of other hands. 

• This model is in fact generically specific, is general compositional principles. I would like to stress the extent to which it is capable of shedding light on individual films.
• In the case of Blind Date, for instance, one can see that there are two potentical catastrophes corresponding to two different instances of complication, that they echo and invert one another, and that the final denouement is a resolution of the romance plot, to which other strands of the narrative are therefore, ultimately, subordinate.
• Alcohol, meanwhile, emerges as an element with a number of important functions. It is responsible for the complications comprising the epitasis.
• Kristin Thompson: Each scene should be associated with its purpose, which is to say that the outline of a play should comprehend: First 'cause' or beginning; secondly, development; third, crisis; fourth, climax or effect; fifth denouement or sequence.
• These principles extend beyond issues of structure. They also concern motivation: the extent to which each scene should have a 'purpose', a justification, and the forms that purpose can, or should, ideally take.
• Here comedy can become a exception to the regimes of motivation, however, Screenplay manuals are dissatisfied with forced or tacked-on happy endings. The characters, writes Frances Marion, must be extricated in 'a logical and dramatic way that brings them happiness'. The unmotived happy ending is a failure, resulting from lack of craft or the interference of other hands.

   <Almost Perfect>, the whole film show spoof, no purpose, no causal motivation.

Comedy and narrative

The general narrative structure of the comedy:

According to Evanthius, then, a narrative comedy consists, of the following components or functions in the following order: a protasis, or exposition, an epitasis, or complication, and a catastrophe, or resolution.(A catastasis, a new and further element of complication, was proposed during the Renaissance by Scaliger as a possible additional component in the structure, following the epitasis).

In order to illustrate the workings of this model, and to demonstrate its productive potential, I will analyse the structure of Blake Edwards's comedy, Blind Date.
                                           

First there is a protasis, which extends from the opening credit sequence through to the point at which W gives N some champagne at a recording studio before going on to a business dinner being held in honour of Mr Yako, a visiting Japanese businessman whom W's firm is trying hard to impress. During this part of the film we are introduced to the principal protagonists ( usually through the device of having them introduced to one another). And we know sth.

Next comes the epitasis, beginning with the dinner and extending to the point at which W is arrested and jailed.Thank to N's drunken behaviour.

W is bailed out by N the following moring. But now comes the catastasis. W's case is dismissed and he is set free. However, N now faces marriage to David.

The catastrophe comes at the last minute. Here the reversal occurs on the day of the wedding. W has impregnated some chocolates with alcohol and had them delivered to N that morning. N has eaten all the chocolates bae one. With the wedding ceremont in progress, she drunkenly interrupts the minister to declare that she is not in love with her husband-to-be. A brief epilogue follows: W and N are together on a beach. In the foreground close to camera is an icebucket containing, not champagne, but coca cola.