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Story Worlds - Coggle Diagram
Story Worlds
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The Sci-Fi Setting
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These elements provide the parameters for the rules, but not the rules themselves.
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Modes
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Each of the above represents a specific tone and story rules based on what the characters can or cannot do.
Comedy or Tragedy?
A useful starting point for this discussion is a choice between two traditional dramatic modes: tragedy and comedy.
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Many other variation of affect are derived from combinations of these two modes, such as relief, sentimentality or schadenfreude.
Defining our film as either comedy or tragedy determines whether the tone is defined by humour or pathos.
Subdividing our film into areas like satire, farce, slapstick and parody, if it is a comedy, or tragedy and melodrama, if it is a drama helps determine the form of the humour or the pathos in terms of the balance of intellect and emotion.
5 Fictional Modes
Low Mimetic
The low mimetic fictional mode is when the hero is one of us: 'we respond to a sense of his common humanity and demand from the poet the same cannons of probability that we find in our own experience'
High Mimetic
The high mimetic mode presents us with a hero superior to us in degree but not superior to his environment. He is "subject both to social criticism and to the order of nature". His superiority to is suggests a tone of high tragedy or an epic.
Ironic
The ironic mode where the hero 'is inferior in power or intelligence to ourselves, so that we have a sense of looking down on a scene of bondage, frustration or absurdity'.
Godlike
Hero is superior in kind both to other men and the environment of other men: Lord of the rings, clash of the titans.
Superhero
Hero is superior in degree but not in kind and the ordinary laws of nature are 'slightly suspended' : superman, spiderman etc.
The 'one-gimme' rule
An audience is prepared to accept any set of rules as long as the rules within the set are consistent.
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"a story must obey its own internal laws of probability" where events are limited to "the possibilities and probabilities within the world (the writer) creates"
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The 'one-gimme' rule
The "one-gimme rule' suggests the audience will 'go anywhere with you once' believing in the inexplicable if it remains within a certain set of story principles.
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Samuel Coleridge advocates the reader transfer from their inner natures 'as human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith"
Emotional response.
If the filmmakers can agree that emotional engagement is a key ingredient to the film's appeal, they can begin asking appropriate questions about audiences' responses.
As Greg Smith points out "the cinema offers complex and varied experiences; for most people, however, it is a place to feel something. The dependability of movies to provide emotional experiences for diverse audiences lies at the centre of the medium's appeal and power"
Will they laugh, cry, be moved to action, be comforted or soothed or just think more about a particular problem?
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Consistency
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Setting is:
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Tonal - power of the protagonist, to laugh or cry etc
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