![]() Through Molly and Jenny’s research, my group and I should, hopefully, be able to create authentic and convincing dialogue that fits with the characters of our film. On the contrary, after Molly and Jenny watched the clips from The Dark Man, they have found that next to no slang is used in the dialogue. Initially, my group and I were under the impression that 1940s slang would be heavily integrated into the sociolect of the characters. The film, much like my group and I’s film opening, is in black and white and has an aspect ratio of 1.37:1. They watched the clips in order to understand what type of language is used by the characters in the opening few minutes of the film. They watched two clips from the film The Dark Man (Jeffrey Dell, 1951). Whilst I created the newspaper and Ben researched the software, Jenny and Molly did some research into the sociolect of a 1940s British detective. What we may lose in authenticity, we should hopefully make up for with quality of acting. However, we all feel that this decision is sensible and beneficial. It could be argued that, by using a British accent and not an American accent, we are detracting from the film noir style. This was a valuable comment for us because it could very well have prevented our film opening from becoming mediocre. Because of that, it has since been decided that we are going to have the cast speaking in a 1940s British accent as this will be far easier for them to speak in convincingly. However, one member of the group commented on the fact that, by having British actors and actresses putting on an American accent, the professionalism would be lost. When drafting our film script, we discovered that we needed to research the sociolect of various characters before we could produce convincing dialogue. However, our script is far from finished and still requires many alterations and refinements before it can be used for our production. The website had very clear sections for where dialogue or shot descriptions might go, for example, and so it was not very difficult to create a professional looking script. When writing the script, we found that Writer Duet was incredibly straightforward and intuitive to use. Here is the draft of the script that my group wrote in today’s lesson. Moreover, this function will allow all of the members of the group to edit the script without the need for us to inconveniently meet up with one another. This meant that my group and I, in the lesson, could add various lines to the script without being all huddled around one computer. The main attraction of this, for us, was the function that allows various people to edit a script at the same time from different computers. ![]() We utilised our research into possible scripting software and decided to use Writer Duet. Group beats to outline the pre-climax, climax, and denouement.In today’s Media Studies lesson, my group and I collaboratively wrote a second draft of our film script. ![]() Your characters will apply what they’ve learned and put their plans into action, culminating in a resolution that will leave the protagonist (and hopefully your audience) changed forever. Add beats that outline the rising action, the midpoint of the story, and plot point 2.Īct 3 is when the conflict resolves, and your story reaches its climax. It’s an exciting act, so be sure to bring the action to keep your audience engaged. At this point in the story, your characters must face obstacles, make difficult decisions, and learn valuable lessons. In act 2, you raise the stakes and unfold the central conflict. Here you could group beats to outline exposition, inciting incident, and the first plot point of your script. It’s the foundation of your story and a great way to get the audience invested in the journey ahead. Act 1 is the setup of your story, where we meet characters and learn about their world.
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