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Theatre 120B, Week 2 notes

by: Elena Yeroushalmi

Theatre 120B, Week 2 notes 120B

Elena Yeroushalmi
GPA 3.96

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About this Document

These notes cover everything professor Shushtari said in week 2
Film and Television
Prof Shushtari
Class Notes
theatre, Shushtari, 120B
25 ?




Popular in Film and Television

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This 3 page Class Notes was uploaded by Elena Yeroushalmi on Thursday January 28, 2016. The Class Notes belongs to 120B at University of California - Los Angeles taught by Prof Shushtari in Winter 2016. Since its upload, it has received 35 views. For similar materials see Film and Television in Theatre at University of California - Los Angeles.


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Date Created: 01/28/16
(Tuesday 1/12) Making Sense of Screenplay Format Story: What the plot is about Context: Explain what happens prior to playing the scene Text: In the screenplay is the words on the page **Subtext: The underlying meaning of the text Provides a message that is not spoken; what is meant by the words What the character means not what he or she says * Ideas and emotions that lie beneath the text What appears to be happening is rarely what is happening Headings AKA Slug Lines- – in CAPS; to tell you where the scene takes place because it affects the lighting, the actual location, and the time of day Interior, Exterior Location Day/Night (or time of day) Description/Action Character name in CAPS when first introduced And only use caps when you want to make note of something important Describes important location description, character action, important sounds Everything that the audience will see or hear (sometimes Camera direction) Character Caption (name of character speaking) always caps Dialogue OS – off screen speech or sounds (not seen but IS in the scene ;heard in the scene) VO – voice over: narrator st 1 person in the point of view of one of the characters Omnission narrator – informs us/gives us information; storyteller who’s not in the movie Phone conversations can use either or (on phone) Parenthetical (brief instruction or description) a screenplay is meant to be read as a blueprint of instruction for the filmmakers to tell them what is seen and heard. It’s a no no to put what a character is thinking in a screenplay There is a format you need to follow but you can bend rules CHOICES= is not in the script/assigned but you think it’s the right thing to do (Here is what they wrote/here is what was done/why do you think that happened) Transition Going from one scene to the next Fade in or fade outs HW: focus on what the actor is doing, saying and their subtext, put interpretation of what you see or hear, not physical things like it says red clock but its blue in the film. Write about tone and body language “what did she do or sound like that makes her seem insecure” (Thursday 1/14) Who is Charlie Chaplin? Considered to be the greatest comic of the silent area By the end of the 1920s movies were with sound He has the persona of ‘The Tramp’; the most recognized individual Most famous of the Charlie Chaplin character Buster Keaton Harold Lloyd D.W. Griffith ‘the grandfather of film’ and Charlie Chaplin to great people of the ear Came from England and developed his talents from Vaudevile Stage- a entertainment variety show Charlie Chaplin was most known for the character as The Tramp By the time he made “The Kid” (1919) he was internationally known about the persona of The Tramp What made him so popular and enduring? His ability to garner empathy from his audience You connect with him – pathos; element of sadness and pity The Jazz Singer (1927) First dialogue (sound film) City Lights (1931) Last silent film even after first dialogue came out comedy is often based on the premise of creating anticipation/bring up some ‘anxiety’; prologue some tension, then release it comedy is best when its anticipated a lot of comedians were inspired by Chaplin City Lights The Tramp was known universally He had pre-concerned ideas of how the audience expect that he would sound It might not live to his excellence as a verbal comedian  


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