Bordwell

Thompson's model of stoytelling
Classical films large-scale parts tend to fall within the same average length range, roughly 25 to 35 minutes marked by definable turning points.

"Thompson argues that most mainstream narrative features consist of four large parts (sometimes 3 or 5), plus an epilogue.One or more protagonists seeking to achieve clearly defined goals. Thompson shows that Hollywood films tend to structure their large-scale parts around the ways in which goals are defined, redefined, thwarted, and then decisively achieved or not. Turning points are created by reversals of intention, points of no return, and new circumstances demanding that goals be recast."

Each running 25 to 35 minutes in a 100-to-120-minute film (when we combine Climax and Epilogue)

1. Setup - Establishes character's purpose and culminates at first turning point.
2. Complicating Action - Change of plans or entirely new challenge presented. Frequently ends at the films midpoint.
3. Development - Struggle toward goals
4. Climax - Can the goals be achieved
5. Epilogue - Confirming stability, settling subplots and tying up motifs


How do films with multiple protagonists work within the model?
Bordwell says, "The simplest instances occur when several characters share the same goal, as in dangerous-mission movies." The Thing seems to be a great example of multiple protagonists working together with a common mission, to kill the thing.

Bordwell also says, "Multiple-protagonist plots may bend their storylines to fit the four-part structure, but the fate of one or two characters is likely to dominate." He uses Glengarry Glen Ross (1992) as the example citing that only two of the fours salesman become central.

List and briefly describe the narrational tactics discussed in the section “Tightening the Plot."

Thompson shows how to derive a plot’s parts from a single principle—the ups and downs of character goals—rather than vague turning points that “spin the action in a new direction.”

A. usually two plotlines, at least one involving heterosexual romance
B. the dangling cause, each scene leaving issues unresolved
C. the dialogue hook, lines delivered at the end of a scene that lead us into the next
D. appointments and deadlines, building up expectations and foreshadowing
E. echoing dailogue, for chohesion
F. saturation of motif, illustrating character change or them
G. omniscience or cross-cutting between stories, narration acheives wider compass
H. balance of narrow and wider ranges of knowledge, keeping us informed but in suspense
I. classical narration is heavy at the begenning
J. montage, to condense storytelling

What does Bordwell mean by his claim that Hollywood narratives have “passages of overtness balanced with less self-conscious ones”?

Bordwell's seems to wax poetic in this passage but I would guess that he is saying there are elements of Hollywood storytelling that call more attention to themselves than others (more reflexive) but that they are always tempered with more immersive ones that draw us into the story and suspend our disbelief.

Which two changes in technology led to the “ancillary eighties”? How did these changes affect the “distribution windows” for films?

The rise of cable, video and the multiplex started it all. Attendance was falling sharply because of prime time TV and VHS rentals. Films had to hit their announced release date because the marketing campaign and exhibition venues had been coordinated around the all-important opening weekend, which could make or break the film in ancillary platforms. Studios had to create more of a buzz to get people to leave their homes with promo campaigns, products, etc. Televisions voracious appetite led to high demand and so independent production flourished.

What happened to the Paramount Decree (forcing the studios to sell their theaters after WWII) in the 1980s and 1990s?

Although court decisions of 1948–1949 forced the major companies to divest themselves of their theater chains, during the 1950s Warner Bros., Disney,Paramount, Columbia, 20th Century Fox, United Artists,MGM, and Universal controlled distribution, the most lucrative area of the industry. They suffered heavy losses dealt by television.

By 1980 the industry was earning stupendous profits. What changed? For one thing, a tax scheme sponsored by the Nixon administration allowed the producers to write off hundreds of millions of dollars in past and future investments. The studios also found ways to integrate their business more firmly with broadcast television, cable, the record industry, and home video.

Just as important, a new generation of filmmakers emerged. The young directors who found the biggest success were willing to work in established genres for a broad audience.

Who were the “Mini-Majors” in the 1980s?

The majors were Buena Vista (Disney), Columbia (later Sony),Warner Brothers, Universal, 20th Century Fox, Paramount, and MGM.

The "minimajors" were Orion, New Line, Miramax, and Lionsgate.

Who were the “prime packagers” in the 1980s and 1990s?

Walt Disney, 20th Century Fox, Universal, Time Warner

Which genres flourished and which genres declined during the 1980s and 1990s?

The "high-concept" spectacle film vs. socially conscious/art films.