This paper is about my first time on a plane and how due to movies I was scared to get on one and how I had to overcome that fear to go on my dream vacation. WRITING ASSIGNMENT (WA) 1: NARRATIVE GUIDELINES Objective: The visual medium will simply be the catalyst for your story, NOT the focus of this essay. Your experiences should take center stage and should be conveyed as a genuine story (not a comparison/contrast piece). Please be sure to type your entire essay and follow MLA formatting guidelines—this means you must double space, must use one-inch margins, and must use Times New Roman, 12-point font. Audience: College-level readers. Length: 3-5 pages double-spaced. NARRATIVE DEFINITION A narrative tells a story or a sequence of events. These events are usually told in chronological order (the order in which the events occurred). NARRATIVE CHARACTERISTICS Narratives may be the dominant mode like a novel or short essay/story, or they may serve a subordinate role in a piece of writing. Narratives may be based on actual personal experience or may be fictitious. Strong narratives contain vivid descriptions and imagery (sensory details). Dialogue and figurative language add depth to a narrative. To be the “great” storyteller that Ira Glass references, use dialogue and figurative language to develop critical moments in your narrative. DIALOGUE *DIALOGUE is conversation, either between characters or within a character’s mind. Capitalize the first word of the quote when the sentence begins with the quoted material or when the quote is verb-triggered. Place all terminal periods inside the quotation marks. Be clear about who is speaking (use appropriate speaker tags). When two or more people are conversing, indent each line of dialogue. Make your dialogue authentic/believable. It is perfectly acceptable to use slang, foreign languages, and even profanity within your dialogue because our goal is to write exactly the way our characters speak. Here are examples of writing authentic dialogue to enhance a scene and to establish the tone (mood). Let’s pretend that you are writing about your recent “lockdown” experiences, and one moment in your narrative describes how you became upset when you discovered that your roommate/cousin just ate your snack. You are angry and disappointed because groceries are a bit scarce right now, and you had instructed your cousin previously not to touch your things. Although you could just summarize this moment for us as the narrator, this scene can be enhanced and dramatized by letting your characters speak. Instead of telling us you were upset, SHOW us. Depending on your personality and your relationship with your cousin, your response to the stolen snack will vary. Here’s one way to narrate that conversation (THE CALM RESPONSE): I walked into the kitchen and discovered my cousin Joe had eaten the last of the Oreos, the Oreos that I specifically bought and instructed him not to touch. I walked over to the counter, grabbed the empty container, and calmly stated, “I thought we talked about this. Remember when I asked you not to eat all my snacks?” “Oh man, I’m sorry,” Joe replied while staring nervously at the ground. “I should’ve asked you. I was out of funds this week and just started snacking without thinking.” “No problem. I get it. It’s been stressful for everyone.” “Yeah, but you did tell me. Hey first chance I get, I’ll go out and get us another pack.” Notice how I provided detailed ID tags to introduce the two people involved in this conversation (the Narrator and Joe). Once I have identified the characters, I do not have to keep adding ID tags within each line. I simply indent and start a new line every time a different character speaks. This allows my readers to clearly see the speakers in that rotation. But what if I do NOT respond calmly? Remember, in real life, we are not always polite and do not always use our filters. Here is another way to narrate that conversation (THE PISSED-OFF RESPONSE): I walked into the kitchen and discovered my cousin Joe had eaten the last of the Oreos, the Oreos that I specifically bought and instructed him not to touch. I stomped over to the counter, snatched the container that was as empty as my cousin’s selfish heart, and yelled, “What the fuck?! Did you seriously eat my Oreos?” “Chill out, bro,” Joe responded while rolling his eyes. “It’s a bag of cookies. I didn’t realize they were dipped in twenty-four karat gold. Stop crying about it.” “Ain’t nobody crying.” “Well good, because I just used the last of the tissues too.” Please note the use of profanity and slang in the second example is not meant to offend anyone in this class; rather, those words are used to remind us that anything goes when it comes to our character dialogue because we are trying to mimic the way our characters actually speak. Dialogue is only effective when it is believable.
Select an actor and compare and contrast 5 movies that they are in showing character development of abilities. Actor options are Leonardo DiCaprio or Jonah Hill.
Only need the outline and resources described in the document labeled “outline and resources”. The second document is for reference. This is the project you should be completing the outline for, along with the resources.
1. How does the film communicate the story visually? 2. Which of the film theories listed below does your favorite film fall into, and why? formalism auteur theory cognitive theory postmodernism Marxism 3. Choose three or four of the nine analysis topics below that you feel had the strongest influence on your movie. Include examples from the film to support your statements: story character or performance technique environment audience genre structure design use of sound Please use complete sentences and correct grammar, and support your ideas with examples. Write and submit your response in any word-processing software (i.e., Microsoft Word, Google Docs, etc.).