Story

An outline of Janet Neipris' advice on the process of developing and creating ideas for film and television.

Notes from Michael Rabiger's book: Developing Story Ideas. It discusses the four modes that any storyteller must occupy; author, presenter, audience and critic. The notes summarise Rabiger's thoughts on how to develop a strong and effective story and lists all aspects that he describes as significant

Lecture notes on the introductory lecture to cinematic storytelling. Discusses why we tell stories with case studies to support them, coming down to three main aspects of storytelling; the archetypal story, how to tell the truth and emotion in stories.

Lecture notes covering the distinction between story and plot. Also gives a diagram of and in-depth outline of three-act story structures as it pertains to film.

Notes on a lecture examining time in film. It covers issues such as the distinction between Non-Linear and Linear Time and how that is indicated and realised in film, as well as the implications on storytelling for each decision.

Summarising the first twenty pages of Hiltunen's interpretation of Aristotle's story theory. It unpacks much of Aristotle's terminology; what he means by fear, catharsis, pity, tragedy and plot. All of this helps in understanding Aristotle's points concerning how stories are told.

A three page summary of Hockrow's interpretation of Aristotle's and Freytag's thoughts on story structure. It details the beats of three-act structures. It also lists the multiple forms of conflict within a story; e.g. social conflict, personal conflict etc.

This essay challenges the notion that non-linear storytelling inherently frustrates the quality of storytelling. It uses Rashomon (1950) as an example of how using non-linear storytelling can create a clearer narrative and maintains causality despite being shown out of order. It also analyses how the film depicts different states of time as well as differing states of reality and fiction.

Notes on Chapter 3 of Hatcher's book. It covers Hatcher's definition of 'reality' within a story; the merging of space, time and causality.