After livre resume

after livre resume

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In a matter of days he saves Rose (Kate winslet) from suicide, boredom, frigidity, marriage, the aristocracy and a second time from death. In addition, at the end of it all, he sacrifices his life. This was a very smart decision by james Cameron. By creating a kind of super-Rescuer, almost a christ-figure, the writer of Titanic sets up a prince charming of the kind many men dream of becoming and that many women dream of meeting. The problem is that in real life these princes charming do not exist. Titanic 's vision of love is the kind we associate with small children: a damsel in distress, instead of relying on her own resources and calling on her own inner rescuer (small-r places herself in the hands of the handsome leonardo, with his free spirit. Any woman who, after seeing this film, stakes her future happiness on finding a jack-figure is likely to be terribly disappointed.

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To kill someone), but the job is distasteful and he is reluctant to. " In fact, it could be argued that the protagonist of Secret Agent has resume two contradictory objectives: the first, to kill someone, has been supplied by his superiors; the second is to get out of having to achieve the first. Unfortunately for the quality of the film, the protagonist does not really get to grips with the first, and the second is simply not dealt with. Secret Agent is one of those works based on the premiss that the protagonist, often a soldier, a policeman, a spy or a detective, is given a mission to accomplish. For a drama of this kind to work, the protagonist has to believe in the importance of his mission and commit himself fully to achieving the objective he has been set. To conclude, a protagonist must be active; at the very least he can be reactive, but not passive. And he must appear utterly obsessed with pursuing his objective. Back to the top of page first excerpt from chapter 4: characterisation prince charming and the love that binds Another character whose characterisation leaves much to be desired but who has nevertheless been hugely successful is Jack (Leonardo dicaprio) in Titanic. Part of the film's popularity derives from his character, i believe. For Jack is a rescuer with a capital.

In The f reshman, for instance, the protagonist (Matthew Broderick) is duped on innumerable occasionseven getting himself forcibly marriedbut does little more than protest vaguely. Ineffectual in his efforts to save himself, he allows himself to be swept along by events. How can the spectator be expected to side with the protagonist if he is indifferent, fails to take action or even refuses to act? This is the reason for the failure of s ecret Agent, daddy as Hitchcock himself clearly understood 92: " It didn't really succeed, and I think i know why. In an adventure drama your central figure must have a purpose. That's vital for the progression of the film, and it's also a key factor in audience participation. The public must be rooting for the character; they should almost be helping him to achieve his goal. John gielgud, the hero of Secret Agent, has an assignment (ie.

after livre resume

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Thirdly, the objective must be particularly difficult for the protagonist to achieve. This does not mean the writer should make it too hard or, what is worse, impossible to achieve: one of the hardest skills for writers of drama to master is getting the right balance between difficulty and ease in overcoming obstacles. I shall discuss this more fully in the next chapter. Fourthly, the spectator must feel that the protagonist is utterly and irrevocably committed to achieving his objective. The protagonist must on no account give the impression that it would not matter too much to him if he had to give up en route. The more the protagonist is pledged body and soul to getting what he wants, the more the spectator will become involved in the story. Consider Antigone ( A ntigone ) who is prepared to risk death in order to give her brother a decent burial; Galileo ( The l ife of Galileo ) who takes on the whole world, and even risks catching the plague, in his determination. Who pesters his mother (Iran Outari) for permission to go out until at last she gives way; Krimo (Osman Elkharraz) in Games of love and Chance, who gives everything he owns (roller-blades, trainers, video-player, etc) to rachid (Rachid Hami) for the right to play the. If the protagonist does not show that he is doing everything he can to achieve his objective, the spectator will feel cheated.

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This child will feature prominently in these pages. Let us note too that a child is first a spectator, then an authoror more precisely, adaptorand finally an actor. Back to the top of page. Excerpt from plan chapter 2: protagonist-objective four essential conditions It is not enough, if you want to write a story successfully, simply to set your protagonist an objective. The writer must also make sure his story meets the following four conditions.

Firstly, the objective must be known by the spectator, or at least perceptible to him, early on in the story. The narrative does not really begin until the spectator has worked out, more or less consciously, what the protagonist wants, and until that happens the spectator will be unsure of what he is being told. After a while, the spectator will find this disagreeable. In order to avoid this, the writer must himself be sure in his mind what his protagonist's objective. Only assignment then can he make sure his story is rigourously constructed. Secondly, the motive for the protagonist's objective must be clearly indicated so that the spectator can share. If the spectator does not understand (let alone approve of) the protagonist's objective, he will have no sense of there being anything at stake.

And dreams, as we well know, are a vital form of nourishment for the psyche. The origins of drama, the art of drama lies at the very heart of the human personality. Theatre historians customarily see drama as arising out of religious ritual. The imitation of human (or divine) actions first took place in a place of worship, and the first actors were priests; this was so even in so-called primitive civilisations. The first subjects of drama were the basic human activities (birth, death, hunting and so on) and the phenomena of nature (storms, the sun, germination and so on). Gradually the sphere of representation broadened out; above all it moved from the sacred to the profane even if, as we shall see later, it has retained some of its religious nature (in the etymological sense).

In western societies, this shift took place on two occasions: in the fifth century bc in Greece, and at the end of the middle Ages in Europe. In my view however there is another original source of drama, different in nature and arguably more deeply rooted. A baby learning to walk or speak is driven by a force of instinct: imitation. In other words, it is performing the human actions of its parents or its brothers or sisters. As time passes, the child continues to imitate and takes the process even further: it sets up a series of more or less fictitious worlds and plays roles in them. Its daily life becomes a succession of fabulations and imitations. In fact, in the way it places us in that symbolic zone set between reality and fantasy, drama resembles the "pretend" games of children. We might even say that it is an adult equivalent. In short, the first actor-spectator-playwright was not the pygmy sorceror or the Greek priest but the child that each of us used.

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Ti ntin comic books and. The relationship between Charles Chaplin and his on-screen character, the little tramp, is even more obvious. Drama therefore creates a dual link: between the creator and the spectator, which is a defining quality in all the arts, and between the character and the spectator, the phenomenon we know as identification. Freud 75, nietzsche 142 and others have observed that identification is one of the basic pleasures of drama. It probably has therapeutic effects. In India, instead of prescribing golf medicine, some doctors tell their patients stories appropriate to their illness. Drama also bears a strange resemblance to the world of dreams. Indeed, we are both actor and spectator in our dreams, even if these do not always tell a story. This is precisely the position the spectator places himself in when he identifies with the protagonist of a work of drama.

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This is no small matter. We each of us know our thoughts and desires and what transactional analysts call racket feelings, but less so the image we project to personal others. For the people around us, the opposite is true: we know what image they project, we can make out their emotions more than their thoughts and desires. Drama manages to combine both parts of the picture, to bring image, thought, desire and emotion into the same frame, and to allow the spectator to put himself into another person's skin. What is equally remarkable is that this other person is both a character in fictionthe character we shall get to know as the protagonistand the writer speaking through him as Gustave flaubert spoke through Madame bovary (. Mada me bovary ). In drama we have numerous examples, such as Sophocles speaking through the older Oedipus (. Oedipus a t Colonus molière through Arnolphe the School for wiv es hitchcock through Christopher Balestrero (Henry fonda. The Wro ng Man hergé through Tintin, Thomson and Thompson and Captain Haddock (the.

(as in Biblical parables or fairy tales) is as essential. The Uses of Enchantment, bruno bettelheim 20 shows how such tales are useful to children. Not just because they entertain and nourish the imagination, but also, and in particular, because they help the child to resolve his conflicts, they give him hope for the future and enable him to mature without becoming psychotic. In short, they help him to live. A fascinating story form, as we grow older, our need for stories remains as intense as ever. Firstly, of course, they serve to distract, in the etymological sense of "drawing away permitting us to escape from the daily grind. But they do a lot more than that. After all, a firework display, a stiff drink, a football match, a television game show or a visit to the niagara falls can distract us just as well. What they cannot do however is enable to enter another person's mind and, above all, his heart.

Excerpt from chapter 9: comedy, excerpt from chapter 13: dialogue, excerpt from chapter 17: composition. Excerpt from chapter 23: writings realay ocript. Excerpt from the glossary, excerpt from the introduction "Tell me a story during World War ii, in the concentration camp of Stutthof, a woman called Flora ran a "bread theatre" using part of her meagre ration of bread to form little figurines. Every evening, hidden in the latrines, she and a few other women would put on a show using these figurines to entertain their doomed fellow-prisoners. They kept this up to the bitter end. A holocaust survivor, Irena lusky, passed on this story to the dramatist Joshua sobol while he was carrying out research into the ghetto theatre in Vilnius for his play. Here we see how in even the most extreme circumstances people experience the need for stories. This need is not something superfluous. We can live without practising a sport, without seeing other countries, without having children.

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Table of Contents, preface, pages from the book, excerpt roles from the introduction. Excerpt from chapter 2: protagonist-objective, first excerpt from chapter 4: characterisation. Second excerpt from chapter 4: characterisation. First excerpt from chapter 5: structure. Second excerpt from chapter 5: structure. Excerpt from chapter 7: preparation, first excerpt from chapter 8: dramatic irony. Second excerpt from chapter 8: dramatic irony.

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