The Orthodox Poetics of Screenwriting

Macdonald, Ian W.

doi:10.1057/9780230392298_3

Cited by 2 publications

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“…Como él dice: «Un ambiente de producción más libre y creativo permite a los escritores el espacio para contar la historia hacia atrás, usar subtítulos y otros artificios técnicos… pero llama la atención sobre la producción y el escritor». 37 Así, el énfasis en la edición, el sonido y otros aspectos formales por parte del modo visionarrativo frecuentemente eleva una serie por encima de la formalmente invisible telenovela.…”

Section: Conclusiónunclassified

Visiones proféticas, series de calidad, el nuevo modo de contar historias de Twin Peaks

Skoptsov¹

2018

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Tras el debut de Twin Peaks en la ABC en abril de 1990, la visión —una secuencia de imágenes que relacionan información del futuro o el pasado de la narración— se ha hecho un producto de primera necesidad de muchas series de cadenas de cable básicas y premium, incluyendo Buffy, la cazavampiros (WB), Battlestar Galactica (SyFy) y Juego de tronos (HBO). Este artículo argumenta que Twin Peaks, en efecto, ha introducido un modo de contar historias llamado “visionarración”, que se basa en la antigua poesía épica al enfocarse en los principales personajes que reciben conocimiento de figuras enigmáticas, parecidas a dioses, que controlan su mundo. Sus visiones rompen la narración lineal, permitiendo que una serie asuma los aspectos formales del medio y cree la impresión de que sus dispares episodios constituyen un todo único. Esto los ayuda a calificar como “televisión de calidad”, al tiempo que disfrazan ejemplos de manipulación autoral evidente dentro de los textos como productos de la divina causalidad interna. Consecuentemente, todos los incidentes narrativos, sin importar qué tan coincidentes o irrelevantes sean, pasan a ser parte de un gran diseño. Un examen detallado de Twin Peaks y Carnivàle demostrará cómo opera este modo, por qué su popularidad entre los contadores de historias modernos y cómo elevar el estatus cultural del programa.

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Section: Conclusiónunclassified

Visiones proféticas, series de calidad, el nuevo modo de contar historias de Twin Peaks

Skoptsov¹

2018

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“…Macdonald claims that in screenwriting 'the question relates to the basis of the collective belief (on the part of both film-makers and viewers) in the 'right' way to make films' . (Macdonald 2013: 25) Therefore, we should go behind the competences and look at the beliefs that give rise to them. (Bordieu 1996: 169 cited in Macdonald 2013 From this thought follows the question: Is it possible that there is a belief regarding 'the right way' to write a screenplay, and, if there is, where does this belief originate?…”

Section: Dramaturgical Decisions and Doxamentioning

confidence: 99%

“…It builds on Aristotelian tradition, which Macdonald terms 'neo-Aristotelian' . (Macdonald 2013: 57) It extends and deepens Aristotle's ideas through generic variations but does not challenge them. (Macdonald 2004: 83) Classifying dramaturgy within the remit of narratology (Maras 2011: 281) might give the impression that plenty of research has been undertaken on film dramaturgy.…”

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Poetic dramaturgy in Andrey Tarkovsky’s Nostalgia (1983): A character without a goal?

Koivumäki¹

2014

Journal of Screenwriting

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This article centres on the use of a character goal and a character arc as elements to express the theme and the meaning in Andrey Tarkovsky’s Nostalgia (1983). In classical dramaturgy, the goal of the character – what does the character want and what actions may he or she take in order to achieve this goal – is considered to be of the utmost importance. In Tarkovsky’s film, however, the character is passive and there does not seem to be any obvious goal to achieve. Through dramaturgical analysis my aim is to reveal the dramaturgical function of both the character goal and the character arc in Nostalgia. My contention is that a passive character forms part of an extensive dramaturgical system and that it carries more meaning than is apparent on the surface. Usually it is the character goal, what the character desires, that carries the spine of the narration and it is usually the starting point of the story design. I argue that the character arc (inner goal) can also assume this function and, accordingly, we can start the development of the screenplay from the perspective of considering how the character changes or why he/she might change. I also suggest that there is a need to reconsider the centrality of character goal, since the screenwriting theories of the twentieth century emphasize the importance of the character goal at the expense of the character arc. This article forms part of a larger study that aims to define certain characteristics of so-called poetic dramaturgy. As I’m interested in whether or not it is possible to define the features of poetic dramaturgy in a similar way as in classical dramaturgy so that they too can be incorporated into the writer’s craft, I also challenge the conventions of classical dramaturgy.

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The Orthodox Poetics of Screenwriting

Cited by 2 publications

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Visiones proféticas, series de calidad, el nuevo modo de contar historias de Twin Peaks

Visiones proféticas, series de calidad, el nuevo modo de contar historias de Twin Peaks

Poetic dramaturgy in Andrey Tarkovsky’s Nostalgia (1983): A character without a goal?

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