Scripting For Media Unit 22

 

Making Decisions My synopsis: The group of survivors investigates the haunted house, uncovering its murderous history and facing traps set by the sociopath. One of the group members gets taken, leading to intense action scenes and dramatic dialogue as the others attempt a rescue. The act is filled with escalating danger and crucial discoveries, keeping the tension high and the audience engaged. Learning from examples: Lighting and Atmosphere: The dim lighting and shadows in Jamie's walk through the dark forest create a sinister atmosphere, similar to the moonlight, making the wardrobe look alive in the script example. Sound Design: The silence, rustling leaves, and snapping twigs in Jamie's scene build tension and improve the sense of threat, much like the strategic use of sound in other horror scripts. Character Reactions: Close-ups of Jamie's terrified face and his whispered dialogue create an connection with the audience, heightening the emotional impact and...

Scripted media products -  film , i.e.: o UK o European o World cinema -  TV , i.e. o news broadcasting o soaps o documentaries o dramas -  radio , i.e.: o drama o current affairs programmes o news -  computer games , i.e.: o scripts for computer games   Film scripts See P1.2 – Language of Scripts and P1.3 – Format and Layout for features of film screenplays. The format and layout of film screenplays is fairly constant around much of the world, for example across Europe and in the ‘Bollywood’ (Indian) and ‘Nollywood’ (Nigerian) film industries. Some use English as an international language for the action, sluglines etc, with only dialogue in the local language. Others may retain the overall layout and format but use the local language throughout. European, Scandinavian and South American scripts are likely to this approach, and English-language translations may sometimes also be available. Where languages differ significantly from English (e.g. in the direction ...

 

‘Angle’ isn’t a term so often used when talking about fiction scripts. However, it’s still relevant. It might also be called a script’s ‘take’ on something, its perspective, its message, its attitude, its approach. Robert McKee makes the point in his well-known film-writing book Story that character development is story. Any worthwhile story is the story of how a character (or several characters) develops. What does Scrooge actually want at the start of the story? Money To be left alone To keep people and emotions at a distance What does he actually get at the end? He gets his emotional involvement in other people back. As a result, he no longer cares about gaining money – its now only useful for building relationships and connecting with people. What does Scrooge do? He turns charity workers away. He is mean-spirited towards Bob Cratchit. He has chances to behave differently – but rejects them. At the end, he behaves differently, giving gifts, helping others. Why do the gh...