Introducción a la narrativa cinematográfica

Guion y narrativa… ¿para animación?

 

 

 

 

Las historias originales ¿existen?

Lo que ya ha acontecido
volverá a acontecer;
lo que ya se ha hecho
se volverá a hacer
¡y no hay nada nuevo bajo el sol!

– Eclesiastés 1:9

 


Historia vs Narración – Fábula vs Sujet

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Premisa: Punto de partida

¿Qué quiero contar? ¿Por qué lo quiero contar?

 

 

 

 

 

StoryCubes

Rory’s Story Cubes

Lajos Egri The Art of Dramatic Writing

Everything has a purpose, or premise. Every second of our life has its own premise, whether or not we are conscious of it at the time. That premise may be as simple as breathing or as complex as a vital emotional decision, but it is always there.

Webster’s International Dictionary says:
Premise: a proposition antecedently supposed or proved; a basis of argument. A proposition stated or assumed as leading to a conclusion.
Others, especially men of the theater, have had different words for the same thing: theme, thesis, root idea, central idea, goal, aim, driving force, subject, purpose, plan, plot, basic emotion.
For our own use we choose the word “premise” because it contains all the elements the other words try to express and because it is less subject to misinterpretation.
Ferdinand Brunetiere demands a “goal” in the play to start with. This is premise.
John Howard Lawson: “The root-idea is the beginning of the process.” He means premise.
Professor Brander Matthews: “A play needs to have a theme.” It must be the premise.

El establecimiento de una premisa nos ayuda a tener claridad en lo que queremos contar.

Recuerden ser fieles a su premisa, si ustedes no creen en lo que están contando; la audiencia tampoco lo va a creer.

The subject – Syd Field Screenplay

You need a subject to embody and dramatize the idea. A subject is defined as an action and a character. An action is what the story is about, and a character is who the story is about.
Every screenplay has a subject—it is what the story is about.

– Syd Field

¿Qué buscamos con el arte audiovisual?

Transmitir emociones buscamos descubrir las condiciones de la naturaleza humana. ¿Qué anhelamos?

Coco

IronGiant

happiness

vita e bella

Tenemos que involucrar al público para lograr una emotividad.

CUESTIONAMIENTO. Las mejores películas son las que hacen que nos cuestionemos como audiencia:

THEME vs SUBJECT

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Knowing what you are writing about is absolutely essential as you delve deeper into the action and characters. Because if you don’t know what your story is about, who does? The reader? The viewer?
If you don’t know what you’re writing about, how do you expect someone else to know? The writer must always exercise choice and responsibility in determining the dramatic execution of the story.
Choice and responsibility—these words will be a familiar refrain throughout this book. Every creative decision must be made by choice, not necessity. If your character walks out of a bank, that’s one story. If he runs out of a bank, that’s another story.

Research gives you ideas, a sense of people, situation, and locale. It allows you to gain a degree of confidence so you are always on top of your subject, operating from choice, not necessity or ignorance.

Bitácora de investigación personal: aquí.

define the dramatic need of your character. What does your character want? What is his/her need? What drives him to the resolution of your story?

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Subject diagram. Syd Field Screenplay. 

¿Querer vs necesitar?

¿Qué quiere mi personaje?

¿Por qué no puede conseguirlo?

¿Qué tiene que hacer para alcanzarlo?