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"Gamification"

FOR CONCEPT PURPOSES

notes:

"professionalisation and industry keeping entry players at bay"

"not only on an institutional and commercial level, but also on the idea of TINA; as a way to limit consumers and producers imaginations"

"what is acceptable? what is permissible? what is marketable? what is sell-able?"

Screenplay

• A screenplay, or script, is a written work by screenwriters for a film, television program, or video game. In them, the movement, actions, expression and dialogues of the characters are also narrated. 

• The major components are action (sometimes called "screen direction") and dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example descriptions of settings, character movements, or sound effects. The dialogue is the words the characters speak, and is written in a center column.

• Unique to the screenplay (as opposed to a stage play) is the use of slug lines. A slug line, also called a master scene heading, occurs at the start of every scene and typically contains three pieces of information: whether the scene is set inside (interior/INT.) or outside (exterior/EXT.), the specific location, and the time of day. Each slug line begins a new scene. In a "shooting script" the slug lines are numbered consecutively for ease of reference.

• Screenplay transitions were cues to the editing team that communicated how transitions between shots were to be handled. CUT TO was a simple direction that stipulated the literal cut from one scene to another — usually, but not always, referring to a location change as well. In older scripts, you would find such a transition between every new scene.

Scene (filmmaking)

• In filmmaking and video production, a scene is generally thought of as the action in a single location and continuous time.

• There is usually an opening scene and a closing scene. 

• While the terms refer to a set sequence and continuity of observation, resulting from the handling of the camera or by the editor, the term scene refers to the continuity of the observed action - an association of time, place or characters. 

Storyboard

• A storyboard is a graphic organizer that consists of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence.

Film

• A film storyboard (sometimes referred to as a shooting board), is essentially a series of frames, with drawings of the sequence of events in a film, similar to a comic book of the film or some section of the film produced beforehand. 

• It helps film directors, cinematographers and television commercial advertising clients visualise the scenes and find potential problems before they occur. 

• Besides this, storyboards also help estimate the cost of the overall production and save time. 

• Often storyboards include arrows or instructions that indicate movement. 

• In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of events as they are to be seen through the camera lens.

• Another benefit of storyboarding is that the production can plan the movie in advance. In this step, things like the type of camera shot, angle, and blocking of characters are decided.

Comic books

• Some writers have used storyboard type drawings (albeit rather sketchy) for their scripting of comic books, often indicating staging of figures, backgrounds, and balloon placement with instructions to the artist as needed often scribbled in the margins and the dialogue or captions indicated. 

Architectural studios

• Occasionally, architectural studios need a storyboard artist to visualize presentations of their projects. 

• Usually, a project needs to be seen by a panel of judges and nowadays it’s possible to create virtual models of proposed new buildings, using advanced computer software to simulate lights, settings, and materials. 

• Clearly, this type of work takes time – and so the first stage is a draft in the form of a storyboard, to define the various sequences that will subsequently be computer-animated.

Méliès at his studio in Montreuil

Advanced Screenplay Formatting John P.Hess

Physical comedy

Physical comedy is a form of comedy focused on manipulation of the body for a humorous effect. It can include slapstick, clowning, mime, physical stunts, or making funny faces.

Physical comedy originated as part of the Commedia dell'arte. It is now sometimes incorporated into sitcoms; for example, in the sitcom Three's Company, actor John Ritter frequently performed pratfalls (landing on the buttocks). Cartoons, particularly film shorts, also commonly depict an exaggerated form of physical comedy (incorporating cartoon physics), such as in Tom and Jerry and Wile E. Coyote and the Road Runner. Slapstick elements include the trip, the slip, the double take, the collide, the fall (or faint), and the roar.

Commedia dell'arte

Commedia dell'arte (UK: /kɒˈmeɪdiə dɛl ˈɑːrteɪ/, US: /kəˈ- ... -ti, -ˈmɛd-/, Italian: [komˈmɛːdja delˈlarte]; meaning "comedy of the profession"[1]) was an early form of professional theatre, originating from Italy, that was popular in Europe from the 16th to the 18th century.[2][3] Commedia dell'arte was formerly called Italian comedy in English and is also known as commedia alla maschera, commedia improvviso, and commedia dell'arte all'improvviso.[4] Commedia is a form of theatre characterized by masked "types" which began in Italy in the 16th century and was responsible for the advent of actresses (Isabella Andreini[5]) and improvised performances based on sketches or scenarios.[6][7] A commedia, such as The Tooth Puller, is both scripted and improvised.[6][8] Characters' entrances and exits are scripted. A special characteristic of commedia dell'arte are the lazzi. A lazzo is a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine.[8][9] Another characteristic of commedia dell'arte is pantomime, which is mostly used by the character Arlecchino (Harlequin).[10] The characters of the commedia usually represent fixed social types and stock characters, such as foolish old men, devious servants, or military officers full of false bravado.[6][11] The characters are exaggerated "real characters", such as a know-it-all doctor called Il Dottore, a greedy old man called Pantalone, or a perfect relationship like the Innamorati.[5] Many troupes were formed to perform commedia dell'arte, including I Gelosi (which had actors such as Isabella Andreini, and her husband Francesco Andreini[12]), Confidenti Troupe, Desioi Troupe, and Fedeli Troupe.[5][6] Commedia dell'arte was often performed outside on platforms or in popular areas such as a piazza.[4][6] The form of theatre originated in Italy, but travelled throughout Europe and even to Moscow.[13] The commedia genesis may be related to carnival in Venice, where by 1570 the author/actor Andrea Calmo had created the character Il Magnifico, the precursor to the vecchio (old man) Pantalone. In the Flaminio Scala scenario for example, Il Magnifico persists and is interchangeable with Pantalone, into the seventeenth century. While Calmo's characters (which also included the Spanish Capitano and a dottore type) were not masked, it is uncertain at what point the characters donned the mask. However, the connection to carnival (the period between Epiphany and Ash Wednesday) would suggest that masking was a convention of carnival and was applied at some point. The tradition in Northern Italy is centered in Mantua, Florence, and Venice, where the major companies came under the aegis of the various dukes. Concomitantly, a Neapolitan tradition emerged in the south and featured the prominent stage figure Pulcinella. Pulcinella has been long associated with Naples, and derived into various types elsewhere—the most famous as the puppet character Punch (of the eponymous Punch and Judy shows) in England.

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