{"id":210,"date":"2015-02-11T14:19:57","date_gmt":"2015-02-11T13:19:57","guid":{"rendered":"http:\/\/vision.wettintv.de\/?page_id=210"},"modified":"2023-10-25T14:56:23","modified_gmt":"2023-10-25T13:56:23","slug":"10-plot-and-character-analysis-referring-to-syd-fields-three-act-structure","status":"publish","type":"page","link":"https:\/\/vision-videoschool.eu\/?page_id=210","title":{"rendered":"Plot and character analysis"},"content":{"rendered":"<div class=\"pdfprnt-buttons pdfprnt-buttons-page pdfprnt-top-right\"><a href=\"https:\/\/vision-videoschool.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fpages%2F210&print=pdf\" class=\"pdfprnt-button pdfprnt-button-pdf\" target=\"_blank\" ><img decoding=\"async\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/plugins\/pdf-print\/images\/pdf.png\" alt=\"image_pdf\" title=\"PDF anzeigen\" \/><\/a><\/div><h2><b>Introduction<\/b><\/h2>\n<blockquote><p>The content in this chapter is aimed at\u00a0advanced learners. That&#8217;s why we don&#8217;t recommend it for young people under 16.<\/p><\/blockquote>\n<p>Learning about what makes a good feature film can help\u00a0you\u00a0write better scripts and storyboards.<\/p>\n<p>Even if you&#8217;re not really interested in writing a script, it&#8217;s still useful and fun to analyse what happens in a film. It means you get to know and understand the film better than if you just watched it once. And it makes you a better film-maker.<\/p>\n<p>In this chapter\u00a0you&#8217;ll learn how to\u00a0analyse the plot and characters of a feature film. There are many ways of doing this, but we focus on the &#8218;three-act structure&#8216;\u00a0theory developed by influential American script-writing expert Syd Field.<\/p>\n<table style=\"border-color: #ffffff;\">\n<tbody>\n<tr style=\"height: 33px;\">\n<td style=\"border-color: #ffffff; text-align: left; vertical-align: top;\">\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-3206\" src=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/03\/corner_lt.png\" alt=\"corner_lt\" width=\"30\" height=\"33\" \/><\/td>\n<td style=\"border-color: #ffffff;\">\n<h2><span style=\"color: #e3890b;\">Vision <em>in action<\/em><\/span><\/h2>\n<\/td>\n<td style=\"border-color: #ffffff;\">\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-3208\" src=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/03\/corner_rt.png\" alt=\"corner_rt\" width=\"30\" height=\"33\" \/><\/td>\n<\/tr>\n<tr style=\"border-color: #ffffff;\">\n<td style=\"border-color: #ffffff;\"><\/td>\n<td style=\"border-color: #ffffff;\">Analysing plots and characters can be time-consuming.\u00a0It&#8217;s also not as action-based and physical\u00a0as filming.But you could still make it a really engaging and fun activity. A great way to do that is to go to see a film at the cinema and think about how the three-act structure applies to it.\u00a0The main question to answer\u00a0are:<\/p>\n<ul>\n<li>Who is the main character, and what are their internal\/external conflicts?<\/li>\n<li>What is the dramatic premise and the dramatic situation?<\/li>\n<li>What significant event represents plot point #1 and leads into the second\u00a0act?<\/li>\n<li>What\u00a0obstacles does\u00a0the main character face in the second act?<\/li>\n<li>What is the first highlight \u2013 the point where\u00a0the main character seems to reach their goal\u00a0but ultimately fails?<\/li>\n<li>What\u00a0is the midpoint \u2013\u00a0where the main character seems to be furthest away from reaching their\u00a0goal?<\/li>\n<li>What\u00a0significant event represents\u00a0plot point #2 and leads into the third act?<\/li>\n<li>What events define the climax in the third act, leading to the resolution?<\/li>\n<li>How is the d\u00e9noument phase presented?<\/li>\n<\/ul>\n<\/td>\n<td style=\"border-color: #ffffff;\"><\/td>\n<\/tr>\n<tr style=\"height: 33px;\">\n<td style=\"border-color: #ffffff; width: 30px; height: 33px;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-3205\" src=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/03\/corner_lb.png\" alt=\"corner_lb\" width=\"30\" height=\"33\" \/><\/td>\n<td style=\"border-color: #ffffff;\"><\/td>\n<td style=\"border-color: #ffffff; width: 30px; height: 33px;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-3207\" src=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/03\/corner_rb.png\" alt=\"corner_rb\" width=\"30\" height=\"33\" \/><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h2>\u00a0Equipment and tools<\/h2>\n<ul>\n<li>To\u00a0screen and analyse a film\u00a0in a large group: a screen and projector; a DVD player or computer with internet connection;\u00a0powerful\u00a0speakers.<\/li>\n<li>To screen and analyse a film individually or in small groups: computers, smartphones, tablets or DVD players with screens.<\/li>\n<li>To make notes: paper and pen, or a digital device.<\/li>\n<\/ul>\n<h2>Main section<\/h2>\n<p>Syd Field came up with his theory by analysing many popular films. He found that they basically had\u00a0the same, three-act structure.<\/p>\n<p>Learning how to analyse a film using Field&#8217;s theory will help you see just what it is that makes a good film.<\/p>\n<div id='gallery-1' class='gallery galleryid-210 gallery-columns-3 gallery-size-medium'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/vision-videoschool.eu\/?attachment_id=4656'><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis2-300x200.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis2-300x200.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis2-644x430.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis2.jpg 809w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/vision-videoschool.eu\/?attachment_id=4657'><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis5-300x200.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis5-300x200.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis5-644x430.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis5.jpg 680w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/vision-videoschool.eu\/?attachment_id=4658'><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis6-300x200.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis6-300x200.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis6-644x430.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis6.jpg 809w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<div id='gallery-2' class='gallery galleryid-210 gallery-columns-3 gallery-size-medium'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/vision-videoschool.eu\/?attachment_id=4659'><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"168\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis8-e1650288634292-300x168.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis8-e1650288634292-300x168.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis8-e1650288634292-644x362.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis8-e1650288634292-768x431.jpg 768w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis8-e1650288634292.jpg 805w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/vision-videoschool.eu\/?attachment_id=4660'><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis11-300x200.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis11-300x200.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis11-644x430.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis11.jpg 777w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/vision-videoschool.eu\/?attachment_id=4661'><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"168\" src=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis15-e1650288378943-300x168.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis15-e1650288378943-300x168.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/02\/Chapter-9-Film-Analysis15-e1650288378943.jpg 610w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p style=\"text-align: center;\"><em>A group of young people analysing a film<\/em><\/p>\n<h3 style=\"text-align: left;\"><strong>Basic terms used in this chapter:<\/strong><\/h3>\n<ul>\n<li style=\"text-align: left;\"><strong>Act<\/strong>: a self-contained part of the plot, defined by specific\u00a0characteristics.<\/li>\n<li style=\"text-align: left;\"><strong>Scene<\/strong>: a series of shots filmed in one location and focusing on a single action or activity over a continuous period of time. For example, the first scene in a film might show a person in a restaurant telling their life story. The second one\u00a0takes place in\u00a0the past and shows us what the character described in the first scene, without voice-over narration.\u00a0In the third scene we\u00a0see the person sitting in the restaurant again,\u00a0telling their story.<\/li>\n<li style=\"text-align: left;\"><strong>Cross-cutting<\/strong>:\u00a0switching several times between two\u00a0scenes in different places, to show they are happening\u00a0at the same time.<\/li>\n<li style=\"text-align: left;\"><strong>Plot<\/strong>:\u00a0the overall story told by the\u00a0scenes in the film; what happens, when, where and why.<\/li>\n<li style=\"text-align: left;\"><strong>Characterisation and character development<\/strong>:\n<ul>\n<li>Personality traits: a character&#8217;s attributes: shy, brave, selfish, generous, and so on. They never remain static: a character may be\u00a0shy in scene 1 but very outgoing\u00a0in scene 10.<\/li>\n<li>Internal\u00a0conflict: what the character is struggling with inside.<\/li>\n<li>External conflict: a\u00a0conflict that occurs between characters. This\u00a0can be expressed in an obvious way (a physical fight) or subtly (one character looking at another disapprovingly).<\/li>\n<li>Character relationships: these may be clearly signposted\u00a0(brothers, lovers, friends) or the audience might have to decode them by carefully\u00a0observing the characters&#8216; \u00a0behaviour towards one another. As with personality traits, relationships aren&#8217;t static and can change over the course of the film \u2013\u00a0for example a loyal employee becoming a disloyal employee.<span style=\"color: #ff00ff;\"><br \/>\n<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li><strong>Motivation<\/strong>: the motivation for a\u00a0character&#8217;s action is directly linked\u00a0to their personality traits,\u00a0internal\u00a0and external conflicts, and relationship with other characters. Any action will have a motivation \u2013 for example returning a stolen apple is motivated by a character&#8217;s sense\u00a0of justice.<\/li>\n<li><strong>Thematic reference<\/strong>:<br \/>\nA thematic reference is related to the main conflicts in the movie and thus to the character traits and the conflicts of the main character as well.\u00a0In a movie, for example, where the main character feels guilty for something and wants to get rid of his \/ her guilt along the plot, guilt may occur as an issue in other parts of the plot as well, for example in the sub-plot and among the\u00a0supporting actors.<\/li>\n<li><strong>Plot points:<\/strong>\u00a0According to Field, so-called &#8218;plot points&#8216; are\u00a0found at the end of a film&#8217;s\u00a0first and second acts.\u00a0A plot point is a significant moment\u00a0in the film or script that forms the basis\u00a0for what will happen in the following act. There can be no second act without a plot point in the first, and no third act without a plot point in the second. For example, in the first act of<em>\u00a0The Matrix<\/em>, Neo takes a\u00a0red pill (plot point 1), which allows him\u00a0to interact with\u00a0the Matrix in the second act. Plot point 2 is the decision by\u00a0Neo, Trinity and Tank in the second act to\u00a0rescue Morpheus. This leads to the third and final act.<\/li>\n<\/ul>\n<h3><b>The three-act structure<\/b><\/h3>\n<blockquote><p>You might already know that\u00a0classical plays tend to have five acts. According to Syd Field feature films have three, but you&#8217;ll soon see the similarities between cinema and Shakespeare!<\/p><\/blockquote>\n<p style=\"text-align: center;\"><strong><strong>\u00a0<a href=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/05\/5-act-play.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-3513 size-large\" src=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/05\/5-act-play-644x322.jpg\" alt=\"5 act play\" width=\"644\" height=\"322\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/05\/5-act-play-644x322.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/05\/5-act-play-300x150.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/05\/5-act-play.jpg 945w\" sizes=\"auto, (max-width: 644px) 100vw, 644px\" \/><\/a><\/strong><\/strong><em>Classic five-act structure<\/em><\/p>\n<p>And\u00a0here is\u00a0Syd Field&#8217;s three-act structure:<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/05\/3-act-structure-eng.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-3512 size-large\" src=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/05\/3-act-structure-eng-644x281.jpg\" alt=\"3 act structure eng\" width=\"644\" height=\"281\" srcset=\"https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/05\/3-act-structure-eng-644x281.jpg 644w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/05\/3-act-structure-eng-300x131.jpg 300w, https:\/\/vision-videoschool.eu\/wp-content\/uploads\/2015\/05\/3-act-structure-eng.jpg 945w\" sizes=\"auto, (max-width: 644px) 100vw, 644px\" \/><\/a><em>Act 1 (set-up, or exposition) \u2013\u00a0Act 2 (confrontation) \u2013 Act 3 (resolution)<\/em><\/p>\n<h4><b>Act 1: set-up, or exposition<br \/>\n<\/b><\/h4>\n<p>The first act usually takes up\u00a0the first quarter of the film. In a two-hour film, the first act lasts\u00a0about 30 minutes.<\/p>\n<p>The exposition includes the following elements:<\/p>\n<ul>\n<li>Introduction\u00a0of the <strong>characters<\/strong>, their <strong>relationships<\/strong> to each other,\u00a0<strong>where<\/strong> and <strong>when<\/strong> the action is taking place.<\/li>\n<li>Introduction of\u00a0the <strong>main character<\/strong>, the <strong>dramatic\u00a0premise<\/strong> of the film, and an <strong>initial dramatic situation<\/strong>.\n<ul>\n<li>Main character: a\u00a0person who has some sort of need or\u00a0objective, and whose actions drive the story.<\/li>\n<li>Dramatic premise: What is the film about? What&#8217;s happening, and what are the main conflicts?<\/li>\n<li>Dramatic situation: The circumstances around the main character that lead to the\u00a0conflicts.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li><strong>An inciting incident <\/strong>\u2013 the\u00a0event that sets the plot in motion. It happens about halfway through\u00a0the first act. Everything that led up to the inciting incident isn&#8217;t important anymore. Everything that comes after it forms the film&#8217;s story. In <em>The Matrix<\/em>\u00a0the inciting incident is Morpheus deciding\u00a0that Neo is the &#8218;chosen one&#8216;.<\/li>\n<li><strong>Plot point 1<\/strong>\u00a0\u2013 a significant\u00a0event\u00a0leading to\u00a0the second act (Neo taking the red pill).<\/li>\n<\/ul>\n<h4><b>Act 2: confrontation<\/b><\/h4>\n<p>The second act covers the next two quarters of the film. In a two-hour film, the second act\u00a0lasts\u00a0about\u00a0an hour and includes:<\/p>\n<ul>\n<li>The<strong>\u00a0obstacles<\/strong><strong>\u00a0<\/strong>the main character encounters, which\u00a0prevent him \/ her from achieving his \/ her goal.<\/li>\n<li><strong>The first highlight<\/strong>: just before the midpoint of the film, the main character almost reaches his \/ her\u00a0goal but it all falls apart.<\/li>\n<li><strong>Midpoint<\/strong>: the half-way point in the film. The main character has never been further from reaching his \/ her goal, and is at his \/ her lowest point.<\/li>\n<li><strong>Plot point 2<\/strong>: a significant\u00a0event\u00a0that initiates the third act (Neo, Trinity and Tank deciding to rescue Morpheus).<\/li>\n<\/ul>\n<h4><b>Act 3: resolution and conclusion<\/b><\/h4>\n<p>The third act is\u00a0the last quarter of the film. In a two hour movie, the third act would play out\u00a0over the last\u00a030 minutes.<\/p>\n<p>This act\u00a0includes the following elements:<\/p>\n<ul>\n<li><strong>Climax and resolution<\/strong>: the plot reaches maximum tension and opposing forces meet in the form of extreme physical action and \/ or extreme emotion. The initial dramatic situation and all other conflicts have been resolved.<\/li>\n<li><strong>D\u00e9nouement<\/strong>: the short period after resolution, in which a\u00a0balanced state is depicted. The picture is often accompanied\u00a0by relaxing music.<strong><strong>\u00a0<\/strong><\/strong><\/li>\n<\/ul>\n<h2><b>Exercises<\/b><\/h2>\n<ol>\n<li>To help you understand the three-act structure better, look online for examples of film analysis referring to Syd Field&#8217;s theory. Ideally the films analysed should be ones you&#8217;ve already seen.<\/li>\n<li>Find a short film\u00a0(max. 20 min) with just one main character (See &#8218;Related topics\/Links to external sources&#8216; below).\u00a0Watch and discuss the film: what did you\/didn&#8217;t you like? What did the film make you think about?\u00a0How does it\u00a0relate to you\u00a0and your life? What touched you?<\/li>\n<li>Analyse the film using the below table. <a title=\"Table of analysis\" href=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/02\/Table-for-analysis.pdf\" target=\"_blank\" rel=\"noopener\">Download the PDF<\/a>, then print\u00a0and glue pages A and B together:<\/li>\n<\/ol>\n<table style=\"height: 1088px;\" width=\"1200\">\n<tbody>\n<tr>\n<td><b>Scene No.<\/b><\/td>\n<td><b>Time in min:sec<\/b><\/td>\n<td><b>Plot and dialogues<\/b><\/td>\n<td><b>Personality traits of the main character<\/b><\/td>\n<td><b>Internal\u00a0conflicts of main character<\/b><\/td>\n<td><b>External conflicts of main character<\/b><\/td>\n<td><b>Relationships between main character and other characters<\/b><\/td>\n<td><b>Beginnings and ends of acts\/<br \/>\nPlot point 1 \/ Midpoint \/ Plot point 2 \/ Climax \/ D\u00e9nouement<\/b><\/td>\n<\/tr>\n<tr>\n<td>1<\/td>\n<td>0:00 \u2013 02:31<\/td>\n<td>Opening credits<\/td>\n<td>&#8211;<\/td>\n<td>&#8211;<\/td>\n<td>&#8211;<\/td>\n<td>&#8211;<\/td>\n<td><\/td>\n<\/tr>\n<tr>\n<td>2<\/td>\n<td>2:32 \u2013\u00a03:32<\/td>\n<td>The main character gets into a\u00a0car.<br \/>\nMain character: \u201cLet&#8217;s drive to the beach!\u201d Girlfriend: \u201cHm, I don&#8217;t really feel like going to the beach today.\u201d<br \/>\nMain character:\u00a0&#8222;Why do you always disagree with me?&#8220;<\/td>\n<td>Very motivated and happy about going to the beach, quickly irritated<\/td>\n<td>Seems unable\u00a0to\u00a0handle the disagreement easily. Maybe doubts the legitimacy of his own wishes?<\/td>\n<td>Disagreement between main character and his girlfriend. There may be long-term, more serious\u00a0problems between them.<\/td>\n<td>\u00a0Young couple<\/td>\n<td><\/td>\n<\/tr>\n<tr>\n<td>\u00a0&#8230;<\/td>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<ul style=\"list-style-type: circle;\">\n<li>Divide the film into scenes. In the table for analysis, mark any\u00a0cross-cutting, describe what happens (plot) and include any\u00a0dialogues.<\/li>\n<li>For every scene, insert:\n<ul>\n<li>personality traits of the main character<\/li>\n<li>internal \/ external\u00a0conflicts of the main character<\/li>\n<li>the nature of the main character&#8217;s relationships with other characters<\/li>\n<li>motivations for any actions you describe. Include the motivation in\u00a0the relevant column where the specific action appears.<\/li>\n<\/ul>\n<\/li>\n<li>Look for thematic references to the main character&#8217;s conflicts. For example, if a film is about alcohol abuse, drinking alcohol might feature\u00a0in\u00a0all the film&#8217;s scenes.<\/li>\n<li>Discuss how the film&#8217;s plot fits into the three-act structure. Note the following, always\u00a0referring to the exact time code (start and end time):\n<ul>\n<li><i>Beginnings and ends of acts<\/i><\/li>\n<li><i>Plot point 1<\/i><\/li>\n<li><i>Midpoint<\/i><\/li>\n<li><i>Plot point 2<\/i><\/li>\n<li><i>Climax<\/i><\/li>\n<li><i>D\u00e9nouement<\/i><strong><strong><br \/>\n<\/strong><\/strong><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h2><b>Common mistakes<\/b><\/h2>\n<ul>\n<li>Confusing the different categories\u00a0in the table for analysis (personality traits, internal conflicts, etc) and inserting information under the wrong heading. This is not a huge problem, however, as they are all interconnected.<\/li>\n<li>Rushing through the analysis. It can be hard to define things\u00a0like plot points, so it takes time to get used to analysing film in this way. Be patient and give yourself enough time to discuss the film in detail with your group.<\/li>\n<\/ul>\n<h2><b>Related topics and links to external sources<\/b><\/h2>\n<h3><b>Short movies:<\/b><\/h3>\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  style=\"display: block; margin: 0px auto;\"  id=\"_ytid_59238\"  width=\"720\" height=\"405\"  data-origwidth=\"720\" data-origheight=\"405\" src=\"https:\/\/www.youtube.com\/embed\/WwV7ENOTeek?enablejsapi=1&#038;origin=https:\/\/vision-videoschool.eu&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;hl=de_DE&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<p style=\"text-align: center;\"><em>Boy<\/em> by Lucas Helth Postma (director). Short film\u00a0(16 min) about intergender issues. In Danish with English subtitles.<\/p>\n<p>[vimeo clip_id=70616895 width=1000 height= ]<\/p>\n<p style=\"text-align: center;\"><em>Photo mit Ph<\/em> by Florian Stanger (director). Short movie (25 min). In German, no subtitles available.<\/p>\n<p><span style=\"color: #ffffff;\">maybe we can add a Turkish and a Slovenian movie here]<\/span><\/p>\n<h2>Methodology<\/h2>\n<p>We recommend teaching plot and character analysis using a short film (max. 20min) as a case study.<\/p>\n<p>A classic course structure of four 90min lessons should\u00a0suit the topic well, but feel free to be flexible. How you organise the course will depend on the length of the film, complexity of the plot, how you conduct\u00a0the analysis, how many characters you analyse, and how you present the final result.<\/p>\n<p>For example,\u00a0you might\u00a0decide to\u00a0provide the plot and dialogue description for some scenes, to save time. Or\u00a0you could choose to focus not just on the\u00a0main character but several others too, for which you&#8217;ll need more time.<\/p>\n<h4><strong>Elements of the course structure:<\/strong><\/h4>\n<ol>\n<li>Create interest in the topic of the film and motivate the young people by explaining what they&#8217;ll gain from\u00a0film analysis. Give an overview of\u00a0the course structure.<\/li>\n<li>Introduce Syd Field&#8217;s theory and explain basic terms relating to the three-act structure. You can use a PowerPoint presentation or a handout.<\/li>\n<li>Show the three-act structure in action using examples from famous films.<\/li>\n<li>Together watch the short film the\u00a0young people will\u00a0analyse.<\/li>\n<li>Divide the students\u00a0into small groups of 2\u20134.<\/li>\n<li>Hand out the\u00a0<a href=\"https:\/\/vision.wettintv.de\/wp-content\/uploads\/2015\/02\/Table-for-analysis.pdf\" target=\"_blank\" rel=\"noopener\">table for analysis<\/a>\u00a0to each group and let the young people\u00a0glue pages A and B together. Take the first 3 minutes of the film as an example,\u00a0divide them into scenes, and note down the time code for each.<\/li>\n<li>Now let each group divide a different section of the film\u00a0into\u00a0scenes. When they are done,\u00a0discuss\u00a0with the whole group where each scene starts and ends, and note down the exact time code. Also look at any examples of cross-cutting \u2013 \u00a0can the cross-cut shots be combined into whole scenes? Number the scenes\u00a0in the right order and make sure everyone has the same\u00a0numbers.<\/li>\n<li>Each group looks at their assigned scenes and notes down\u00a0the plot and dialogues.<\/li>\n<\/ol>\n<blockquote><p>To speed this up, the young people could\u00a0use the\u00a0subtitle files of the film (either in the original language or translated). These will include all the dialogues in the film, with time codes.<\/p>\n<p>The files can be downloaded from the internet, and have extensions *.sub or *.srt. Never download *.exe files, which can be used to deliver viruses, and remember to scan all the files you do download for viruses.<\/p>\n<p>If you&#8217;re using a\u00a0YouTube video,\u00a0you may find a transcript under\u00a0&#8218;More \u2192 Transcription&#8216;. Even if this is an automatically generated transcript with some mistakes, you could still us it to create your own transcript of the film.<\/p><\/blockquote>\n<ol>\n<li>Start analysing! Using the first three minutes of the film as an example, insert the following together:\n<ul>\n<li>personality traits of the main character<\/li>\n<li>internal\/external conflicts of the main character<\/li>\n<li>the nature of the main character&#8217;s relationships with other characters<\/li>\n<li>motivation for all actions you can describe<\/li>\n<li>if appropriate, any beginnings and ends of acts \/ plot point 1 \/ midpoint \/ plot point 2 \/ climax and resolution \/ d\u00e9nouement<\/li>\n<\/ul>\n<\/li>\n<li>The young people should now go back to their groups and complete the analysis of their scenes. Don&#8217;t let them work on their own for too long.\u00a0Help\u00a0them as necessary and, from time to time, discuss the analysis with the whole group.<\/li>\n<li>When all groups are finished, watch the film\u00a0again.\u00a0Discuss what the students\u00a0found out, scene by scene.<\/li>\n<li>To\u00a0present the results, you can cut individual scenes out of the table and glue them onto a banner from left (start of the film) to right (end of the film). You can draw an arrow\u00a0to serve as a\u00a0timeline. If you have analysed several characters, paste the strips relating to the main character at the top, and those of other characters below them.<\/li>\n<\/ol>\n<h2>Terminology<\/h2>\n<p><em>Three-Act Structure (consisting of exposition, confrontation, resolution and conclusion), act, scene, cross-cutting, plot, figure characterization and developement, thematic reference, plot point, mid point, main character, dramatic premise, dramatic situation, triggering event, climax, D\u00e9nouement<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Introduction The content in this chapter is aimed at\u00a0advanced learners. That&#8217;s why we don&#8217;t recommend it for young people under 16. Learning about what makes a good feature film can help\u00a0you\u00a0write better scripts and storyboards. Even if you&#8217;re not really interested in writing a script, it&#8217;s still useful and fun to analyse what happens in&#8230;<\/p>\n","protected":false},"author":1,"featured_media":4659,"parent":0,"menu_order":360,"comment_status":"closed","ping_status":"closed","template":"page_fullwidth.php","meta":{"footnotes":""},"language":[7],"class_list":["post-210","page","type-page","status-publish","has-post-thumbnail","hentry","language-en_gb"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Plot and character analysis - V I S I O N and A N I M A V I S I O N - Video School Online<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vision-videoschool.eu\/?page_id=210\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Plot and character analysis - V I S I O N and A N I M A V I S I O N - Video School Online\" \/>\n<meta property=\"og:description\" content=\"Introduction The content in this chapter is aimed at\u00a0advanced learners. 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