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Story_ Style, Structure, Substance, and the Principles of Screenwriting - Robert Mckee
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Story is about mastering the art, not second-guessing the marketplace.

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2022-02-24 02:09:34
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  • Contents
  • Notes on the Text
  • Part 1 The Writer and the Art of Story
  • Introduction
  • Story is about principles, not rules.
  • Story is about eternal, universal forms, not formulas.
  • Story is about archetypes, not stereotypes.
  • Story is about thoroughness, not shortcuts.
  • Story is about the realities, not the mysteries of writing.
  • Story is about mastering the art, not second-guessing the marketplace.
  • Story is about respect, not disdain, for the audience.
  • Story is about originality, not duplication.
  • 1 The Story Problem
  • THE DECLINE OF STORY
  • THE LOSS OF CRAFT
  • THE STORY IMPERATIVE
  • GOOD STORY WELL TOLD
  • STORY AND LIFE
  • POWERS AND TALENTS
  • CRAFT MAXIMIZES TALENT
  • Part 2 The Elements of Story
  • 2 The Structure Spectrum
  • THE TERMINOLOGY OF STORY DESIGN
  • Sequence
  • THE STORY TRIANGLE
  • FORMAL DIFFERENCES WITHIN THE STORY TRIANGLE
  • THE POLITICS OF STORY DESIGN
  • 3 Structure and Setting
  • THE WAR ON CLICHÈ
  • SETTING
  • THE PRINCIPLE OF CREATIVE LIMITATION
  • RESEARCH
  • CREATIVE CHOICES
  • 4 Structure and Genre
  • THE FILM GENRES
  • THE RELATIONSHIP BETWEEN STRUCTURE AND GENRE
  • MASTERY OF GENRE
  • CREATIVE LIMITATIONS
  • MIXING GENRES
  • REINVENTING GENRES
  • THE GIFT OF ENDURANCE
  • 5 Structure and Character
  • CHARACTER VERSUS CHARACTERIZATION
  • CHARACTER REVELATION
  • CHARACTER ARC
  • STRUCTURE AND CHARACTER FUNCTIONS
  • CLIMAX AND CHARACTER
  • 6 Structure and Meaning
  • AESTHETIC EMOTION
  • PREMISE
  • STRUCTURE AS RHETORIC
  • CONTROLLING IDEA
  • DIDACTICISM
  • IDEALIST, PESSIMIST, IRONIST
  • MEANING AND SOCIETY
  • Part 3 The Principles of Story Design
  • 7 The Substance of Story
  • THE PROTAGONIST
  • THE AUDIENCE BOND
  • THE FIRST STEP
  • THE WORLD OF A CHARACTER
  • THE GAP
  • ON RISK
  • THE GAP IN PROGRESSION
  • WRITING FROM THE INSIDE OUT
  • CHINATOWN
  • CHARACTERS
  • THE SCENE:
  • CREATING WITHIN THE GAP
  • THE SUBSTANCE AND ENERGY OF STORY
  • 8 The Inciting Incident
  • THE WORLD OF THE STORY
  • AUTHORSHIP
  • THE INCITING INCIDENT
  • THE SPINE OF THE STORY
  • THE QUEST
  • DESIGN OF THE INCITING INCIDENT
  • LOCATING THE INCITING INCIDENT
  • THE QUALITY OF THE INCITING INCIDENT
  • CREATING THE INCITING INCIDENT
  • 9 Act Design
  • PROGRESSIVE COMPLICATIONS
  • 10 Scene Design
  • TURNING POINTS
  • SETUPS/PAYOFFS
  • EMOTIONAL TRANSITIONS
  • THE NATURE OF CHOICE
  • 11 Scene Analysis
  • TEXT AND SUBTEXT
  • THE TECHNIQUE OF SCENE ANALYSIS
  • CASABLANCA
  • SYNOPSIS
  • THE MID-ACT CLIMAX
  • THROUGH A GLASS DARKLY
  • SYNOPSIS
  • 12 Composition
  • UNITY AND VARIETY
  • PACING
  • RHYTHM AND TEMPO
  • EXPRESSING PROGRESSION
  • SOCIAL PROGRESSION
  • PERSONAL PROGRESSION
  • SYMBOLIC ASCENSION
  • IRONIC ASCENSION
  • PRINCIPLE OF TRANSITION
  • 13 Crisis, Climax, Resolution
  • CRISIS
  • CRISIS WITHIN THE CLIMAX
  • CLIMAX
  • RESOLUTION
  • Part 4 The Writer at Work
  • 14 The Principle of Antagonism
  • TAKING STORY AND CHARACTER TO THE END OF THE LINE
  • 15 Exposition
  • SHOW, DON’T TELL
  • THE USE OF BACKSTORY
  • FLASHBACKS
  • DREAM SEQUENCES
  • MONTAGE
  • VOICE-OVER NARRATION
  • 16 Problems and Solutions
  • THE PROBLEM OF INTEREST
  • THE PROBLEM OF SURPRISE
  • THE PROBLEM OF COINCIDENCE
  • THE PROBLEM OF COMEDY
  • THE PROBLEM OF POINT OF VIEW
  • POV WITHIN A SCENE
  • POV WITHIN THE STORY
  • THE PROBLEM OF ADAPTATION
  • THE PROBLEM OF MELODRAMA
  • THE PROBLEM OF HOLES
  • 17 Character
  • THE MIND WORM
  • 18 The Text
  • DIALOGUE
  • DESCRIPTION
  • IMAGE SYSTEMS
  • TITLES
  • 19 A Writer’s Method
  • WRITING FROM THE OUTSIDE IN
  • WRITING FROM THE INSIDE OUT
  • SCREENPLAY
  • Fade Out
  • Suggested Readings
  • Filmography
  • Index
  • Acknowledgments
  • About the Author
  • Copyright
  • About the Publisher
  • About the Publisher
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