Directing the Story by Francis Glebas - Revision history

Snapai: /* Structuring Stories */

2021-03-05T02:30:35Z

Structuring Stories

Snapai: /* Line of Action */

2021-01-26T03:10:37Z

Line of Action

Snapai: /* Aiming for the Heart */

2021-01-26T02:54:50Z

Aiming for the Heart

Snapai: /* The BIG Picture: Story Structures */

2021-01-26T02:38:11Z

The BIG Picture: Story Structures

Snapai: /* Dramatic Irony */

2021-01-26T02:31:24Z

Dramatic Irony

Snapai: /* =Retroactivity */

2021-01-26T02:28:41Z

=Retroactivity

Snapai: /* How to Convey and Suggest Meaning */

2021-01-26T02:28:30Z

How to Convey and Suggest Meaning

Snapai at 01:58, 26 January 2021

2021-01-26T01:58:40Z

Snapai at 01:56, 26 January 2021

2021-01-26T01:56:52Z

Show changes

Snapai: /* How to Make Images Speak: The Hidden Power of Images */

2021-01-26T01:33:08Z

How to Make Images Speak: The Hidden Power of Images

@@ Line 242: / Line 242: @@
 Structure - the relationship between the parts of a story: The narrative questions and the delays (gaps) and answers to those questions - how they're presented.
-The story is misdirection to prevent us from noticing how it's being prevented.
+The story is misdirection to prevent us from noticing how it's being presented.
 {| class="wikitable"

@@ Line 448: / Line 448: @@
 Line of action that represents the main thrust of forces.
-''ed: curve from the support, to where it's going, modified by forces in play. See also laban movement analysis''
+''ed: curve from the support, to where it's going, modified by forces in play. See also [[Laban Movement Analysis]]''
 Star people, blob people, flour sacks, all work because of the LOA.

@@ Line 927: / Line 927: @@
 |}
 ===Do We Really Identify with the Hero?===
 ===Fears, Flaws, Wants, and Needs===
 ===Love Stories: What Keeps Lovers Apart?===
@@ Line 934: / Line 936: @@
 ===Emotional Truth===
 ===Music and Color: Not Meaning, but Meaningful===
 ===What Is It All About?===
 ===Happy Ever After===
 ===Piglet's Big Compilation===
 ===Why We Watch Movies, Revisited===
 ===The Story Knot and the Formula for Fantasy===
 ===Emotional Engagement of a Story===
 ===Points to Remember: Aiming for the Heart===
 * Find your theam and use it as your compass

@@ Line 868: / Line 868: @@
 ===Primitive Filmic Structures and Propp's Story Functions===
 ===The Hero's Journey or the Neurotic's Road Trip===
 ===Three Levels of Story Analysis===
 ===Mentors===
 ===Paradigms of Changing the Impossible to the Possible===
 ===Ending, Beginning, and Turning Points===
 ===Types of Scenes===
 ===What Happens if you Move the Structure Around?===
 ===Points to Remember: Story Structure===

@@ Line 854: / Line 854: @@
 ===Pendulum of Suspense===
 ===Places for Dramatic Irony===
 ===Critique: What Does the Sultan Know?===
 ===Points to Remember: Dramatic Irony===

@@ Line 825: / Line 825: @@
 ===History of Film Editing===
 ===Why Do We Have to Tell Stories?===
-====Retroactivity===
+====Retroactivity====
 ===The Film as Time Machine===
 ====Pacing: The Expansion and Contraction of Time====

@@ Line 815: / Line 815: @@
 |}
 ===Continuity and Causality: How we put Juxtaposed Images Together===
 ===Multiple Types of Causality===
 ===Screen Geography: Letting the Audience Know Where They Are===
 ===Eyeline Matches===
@@ Line 821: / Line 825: @@
 ===History of Film Editing===
 ===Why Do We Have to Tell Stories?===
 ===The Film as Time Machine===
 ===Why Cuts Work===
 ===Why We Speak the Narration to Ourselves===
 ===Points to Remember: Conveying Meaning===

@@ Line 1: / Line 1: @@
 [[Category:Books]]
-==The Goal: Why Do We Watch?=
+==The Goal: Why Do We Watch?==
-===Why do we watch movies?==
+===Why do we watch movies?===
 * live vicariously through characters
 * learn things
@@ Line 45: / Line 45: @@
 ''my note: wonder if that means we should present why getting them into trouble is the best solution they think they have at the time?''
-===Critique: Is it too late to turn back?==
+===Critique: Is it too late to turn back?===
 Don't make the audience wait to see if something is going to happen - present backstory dramatically.
@@ Line 67: / Line 67: @@
 Aim for the heart by working at a structural level - all you have is pictures, words, sounds, music
-===What is the audience doing?==
+===What is the audience doing?===
 Think about the film from the audience's point of view - are they bored, confused, or engaged?
@@ Line 84: / Line 84: @@
 ; 6. Feel relief when the narrative questions close : resolution, chekov's guns. Even a "we'll do it in the next movie" IS a resolution as they know we didn't forget it.
-===Promise to the reader: intuition illuminated!==
+===Promise to the reader: intuition illuminated!===
 Experience is a good teacher, but tactics and techniques are a good help rather than starting from scratch.
@@ Line 111: / Line 111: @@
 ==Common Beginner Problems==
-===Where do you begin?==
+===Where do you begin?===
 It's easy to fix drawing problems. It's harder to learn to fix story problems.
@@ Line 124: / Line 124: @@
 Most stories are a mix of action and character - but you have to make sure that the character side is there!
-Identifying with a character == identifying with their desires
+Identifying with a character = identifying with their desires
 Characters act to get their desires, and make mistakes based on their personalities and experience - this creates plot.
@@ Line 137: / Line 137: @@
 Character motivations don't help you structure visual storytelling.
-===What Can Possibly Go Wrong?==
+===What Can Possibly Go Wrong?===
 Even pros have issues sometimes.
@@ Line 160: / Line 160: @@
 And now digital stuff is inexpensive and widely available.
-===What Do Directors Direct?==
+===What Do Directors Direct?===
 Directors direct the elements of the film, in order to direct the emotions - by means of directing ''the attention of the audience''
@@ Line 197: / Line 197: @@
 In story context of a shot, EVERY shot is a closeup - focusing on only one thing, but that can be from a massive spacious environment to a tiny detail.
-===What Is a Story?==
+===What Is a Story?===
 A story is the telling of a series of events about a character who wants something, and has to overcome obstacles to get it.
@@ Line 255: / Line 255: @@
 |}
-===What is Character?==
+===What is Character?===
 character - a person represented on screen
@@ Line 357: / Line 357: @@
 Many ways to tell any story and so equally many ways to storyboard.
-===Breaking Down the Script: What Are Story Beats?==
+===Breaking Down the Script: What Are Story Beats?===
 ; Script page : written description of action and dialog
@@ Line 561: / Line 561: @@
 * Study comic books for great drawing and visual storytelling.
-==What do Directors Direct?=
+==What do Directors Direct?==
 {| class="wikitable"
 !colspan="6"|Events of the story
@@ Line 644: / Line 644: @@
 ===Visual Clarity===
 ===What I Learned from Watercolor Artists: The Missing Piece of Design===
-===Where Do I Look?==
+===Where Do I Look?===
 ====Seeing Things====
 ====Where do I put the Camera? Staging the Action====
@@ Line 651: / Line 651: @@
 {| class="wikitable"
 |-
-! [[Design Elements]] + !! [[Design Principles]] == !! Effects
+! [[Design Elements]] + !! [[Design Principles]] = !! Effects
 |-
 | What is actually on the page
@@ Line 681: / Line 681: @@
 ===Directing the Eye with Composition===
 ====General Guidelines of Composition====
-====Directing the Viewer's Eyes &mdash; Look!===
+====Directing the Viewer's Eyes &mdash; Look!====
 ====Compositional Reading====
-====Where are we Going?===
+====Where are we Going?====
 ====Movie Composition Needs to be Very Simple====
 ===A Magical Effect: How a Picture Makes You Feel===
@@ Line 706: / Line 706: @@
 ==Directing the Eyes Deeper In Space and Time==
-===What is Wrong With This Picture?==
+===What is Wrong With This Picture?===
-===What to Use: Telephoto or Wide-Angle Lenses?==
+===What to Use: Telephoto or Wide-Angle Lenses?===
 ====Telephoto Characteristics====
 * Little distortion
@@ Line 759: / Line 759: @@
 |}
 ===A Fancy Word for Clues===
-===Why Should You Care about Clues?==
+===Why Should You Care about Clues?===
 ===How Movies Speak to Us===
 ====Denotation====
@@ Line 820: / Line 820: @@
 ===Time Continuity===
 ===History of Film Editing===
-===Why Do We Have to Tell Stories?==
+===Why Do We Have to Tell Stories?===
 ===The Film as Time Machine===
 ===Why Cuts Work===
@@ Line 838: / Line 838: @@
 ==Dramatic Irony==
-===Who Gets to Know What, When, Where, How, and Why (Including the Audience)==
+===Who Gets to Know What, When, Where, How, and Why (Including the Audience)===
-===Can You Keep a Secret?==
+===Can You Keep a Secret?===
 ===Pendulum of Suspense===
 ===Places for Dramatic Irony===
-===Critique: What Does the Sultan Know?==
+===Critique: What Does the Sultan Know?===
 ===Points to Remember: Dramatic Irony===
 * Work out a chart of the key information. Map when different characters get to know this info and when the audience gets to know it
@@ Line 860: / Line 860: @@
 ===Ending, Beginning, and Turning Points===
 ===Types of Scenes===
-===What Happens if you Move the Structure Around?==
+===What Happens if you Move the Structure Around?===
 ===Points to Remember: Story Structure===
 * Study your story in the script and storyboard stages, before you shoot.
@@ Line 887: / Line 887: @@
 ||  <span style="writing-mode: vertical-lr;">Emotional Responses (aim here)</span>
 |}
-===Do We Really Identify with the Hero?==
+===Do We Really Identify with the Hero?===
 ===Fears, Flaws, Wants, and Needs===
-===Love Stories: What Keeps Lovers Apart?==
+===Love Stories: What Keeps Lovers Apart?===
-===What is So Scary about Horror?==
+===What is So Scary about Horror?===
 ===The Rubberband Theory of Comedy: Aiming for the Backside of the Heart===
 ===So Many Crime Shows===
 ===Emotional Truth===
 ===Music and Color: Not Meaning, but Meaningful===
-===What Is It All About?==
+===What Is It All About?===
 ===Happy Ever After===
 ===Piglet's Big Compilation===

@@ Line 761: / Line 761: @@
 ==Why Should You Care about Clues?==
 ==How Movies Speak to Us==
 ==The Mind Makes Associations==
 ==Crime Story Clues and Signs==
 ==Significant Objects==
 ==How Images Ask Questions==
 ==Speaking Indirectly==
 ==Everything Speaks, If You Know The Code==
 ==Semiotic Square==
 ==Semiotic Analysis of the Scheherazade and "Dumb Love" Stories==
 ==Points to Remember: Making Images Speak==