MARC Record from marc_columbia

LEADER: 06292cam a2200733 a 4500
001 15095765
005 20221112230935.0
006 m o d
007 cr cnu---unuuu
008 140110s2014 nyu ob 001 0 eng d
035 $a(OCoLC)ocn867823291
035 $a(NNC)15095765
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020 $a9781135081218$q(electronic bk.)
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020 $a9781135081171$q(e-book ;$qMobi)
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020 $a9780415813693$q(hardback)
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050 4 $aPN1996$b.F454 2014
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072 7 $aLAN$x015000$2bisacsh
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082 04 $a808.2/3$223
084 $aPER004050$aPER010050$aPER016000$2bisacsh
049 $aZCUA
100 1 $aFink, Edward J.$q(Edward John)
245 10 $aDramatic Story Structure :$ba Primer for Screenwriters.
260 $aNew York :$bRoutledge,$c2014.
300 $a1 online resource
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
588 0 $aPrint version record.
505 0 $aCover; Half Title; Title Page; Copyright Page; Dedication; Table of Contents; Preface; Acknowledgments; 1. Introduction and Sample Script; Drama Defined; Aristotle and Others; Sample Script: La Llorona (The Weeping Woman); 2. Plot; Three-Act Structure; Act 1: Setup to New Direction; Act 2A: Launch of Journey to Midpoint Crisis; Act 2B: All Goes Well to All is Lost; Act 3: Turnaround to Climax and Denouement; Throughout all Three Acts; Experiments with Three-Act Structure; Sample Plot Points; Jule Selbo's 11 Steps (2007); Chris Vogler's 12 Steps (2007), based on Campbell (1949).
505 8 $aEric Edson's 23 Steps (2011)Summary; Reflection and Discussion; 3. Character; Protagonists; Extraordinary Person in Ordinary Situation; Ordinary Person in Extraordinary Situation; Achilles' Heel; Arc; Antagonists; Human v. Human; Human v. Environment; Human v. Self; Supporting Characters; Functionaries; Unmasking; Ethos, Pathos, and Hybris; Experiments with Character; Character Types; Four Humors; Enneagram; Sigmund Freud (1856-1939); Carl Jung (1875-1961); Myers-Briggs; Lajos Egri (1888-1967); Obsession; Summary; Reflection and Discussion; 4. Theme; What Theme Is Not: Plot or Character.
505 8 $aWhat Theme Is: Lesson with Point of ViewTypologies of Theme; Treatment of Theme; Experiments with Theme; Summary; Reflection and Discussion; 5. Dialogue; Show, Don't Tell; Creating Dialogue; Poeticism; Naturalism; Realism; Heightened Realism; Functions of Dialogue; Advance Plot; Reveal Character; Point to Theme; Comprehensibility; Memorable Lines; Dual Meaning; Summary; Reflection and Discussion; 6. Sound; Sound for Screenwriters; Music; Diegetic, Nondiegetic, and Metadiegetic; Parallel and Counterpoint; Sound Effects; Voice; Summary; Reflection and Discussion; 7. Spectacle.
505 8 $aSpectacle for ScreenwritersLocations and Sets; Location or Studio; Interior or Exterior; Physical or Virtual; Realistic or Nonrealistic; Lights and Shadow; Costume and Wardrobe; Hair and Makeup; Properties; Actors' Physical Features; Blocking and Camera Shots; Special Effects; Editing; Summary; Reflection and Discussion; 8. Unity, Metaphor, Universality, Catharsis, and Style; Unity; Unity of Action; Unity of Time and Place; Unity of Theme; Metaphor; Universality; Catharsis; Style; Realism and Nonrealism; Tragedy and Comedy; Summary; Reflection and Discussion; 9. Comedy; High and Low Comedy.
505 8 $aSchadenfreude and MuditaThree Grand Theories of Comedy: Incongruity, Superiority, and Psychoanalytic (Relief); Incongruity Theory; Superiority Theory; Psychoanalytic or Relief Theory; Comic Structure; Setup and Payoff; Rule of Threes; Running Gag; Double Whammy; Innuendo and Double Entendre; One-Liners and Put-Downs; Summary; Reflection and Discussion; 10. Script Formats; Screenplay Format; Sitcom Format; Two-Column, Split-Page, AV Format; Stage-Play Format; Summary; Reflection and Discussion; References; Index.
520 $aA successful screenplay starts with an understanding of the fundamentals of dramatic story structure. In this practical introduction, Edward J. Fink condenses centuries of writing about dramatic theory into ten concise and readable chapters, providing the tools for building an engaging narrative and turning it into an agent-ready script. Fink devotes chapters to expanding on the six basic elements of drama from Aristotle's Poetics (plot, character, theme, dialogue, sound, and spectacle), the theory and structure of comedy, as well as the concepts of unity, metaphor, style, universali.
504 $aIncludes bibliographical references and index.
650 0 $aMotion picture authorship.
650 0 $aTelevision authorship.
650 6 $aCinéma$xArt d'écrire.
650 6 $aTélévision$xArt d'écrire.
650 7 $aLANGUAGE ARTS & DISCIPLINES$xComposition & Creative Writing.$2bisacsh
650 7 $aLANGUAGE ARTS & DISCIPLINES$xRhetoric.$2bisacsh
650 7 $aREFERENCE$xWriting Skills.$2bisacsh
650 7 $aMotion picture authorship.$2fast$0(OCoLC)fst01027122
650 7 $aTelevision authorship.$2fast$0(OCoLC)fst01146709
776 08 $iPrint version:$aFink, Edward J.$tDramatic Story Structure : A Primer for Screenwriters.$dHoboken : Taylor and Francis, ©2014$z9780415813693
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15095765$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS