Aristotle Six Elements Of Drama

Aristotle the six elements of drama

A Greek philosopher Aristotle applied these six elements in to his drama in ancient Greece; the same basic elements still apply to the modern structure of drama today. Here is how the six elements apply to our structure of our teaser trailer.

1. Plot - There has to be a story that unfolds. A perverse surgeon attempts to bring a dead body to life using a combination of the eight different blood types of the seven girls and his own to infuse into the dead body.

2. Character - Establishes their character - noble, base, venal etc. Surgeon, Amy, Terri, Jodie, Emily, Nicole, Samantha and Hannah.

3. Theme – A theme of horror and psychological disorder, medial equipment full of a disturbed obsession gone too far.

4. Diction - These seven girls share the same language as they’re from the same county and share a similar age between them. The surgeon’s voice is spine-chilling and very peculiar he is introvert and withdrawn so he doesn’t speak much throughout.

5. Music - Used to enhance and create mood appropriate to the emotions. Sound effects are used throughout the teaser trailer and a fast paced violin music used at the end of the trailer to create intense impact.

6. Spectacle – The setting is in a dark underground like prison. The main colours used in this setting are pallid ominous colours such as yellow, crimson, black and brown, these are used to set the genre for the teaser trailer.

Levi Strauss' Binary Oppositions

Levi Strauss’ Binary Oppositions

Claude Levi’s observed were making sense of the world, people and events by seeing and using binary oppositions everywhere. The observed that narratives are organised around the conflict between such binary opposition’s examples such as:

Good V’s Evil

Black V’s White

Boy V’s Girl

Peace V’s War

Strong V’s Weak

Alive V’s Dead

Man V’s Nature

Human V’s Inhuman

Rational V’s Irrational

Man V’s Woman

East V’s West

Civilised V’s Savage

Empowered V’s Victim

Normal V’s Strange

Overground V’s Underground

There are ones that apply to our film AB Negative are:

Normal - Strange (7 girls/Surgeon)

Good - Evil (7 girls/Surgeon)

Overground —Underground (Abducted overground/kept underground)

Alive - Dead (7 girls Surgeon and Corpse)

Human - Inhuman (7 girls and Surgeon/Living Corpse)

Natural - Artificial (7 girls and Surgeon/Living Corpse)

Rational - Irrational 7 girls/Surgeon)

Young - Old (7 girls /Surgeon and Corpse)

Tzvetan Todorov Narrative Structure

Tzvetan Todorov is a Franco-Bulgarian philosopher. He suggests that all narratives follow a three part structure with five stages. They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when equilibrium is restored. This simple formula can be applied to virtually all narratives - it is a more formal way of thinking about the beginning, middle and end, and it takes into account Aristotle's theory that all drama is conflict i.e. there is disequilibrium at the heart of every narrative.
Tzvetan Todorov suggested that conventional narratives are structured in five stages:

1. a state of equilibrium at the outset;
2. a disruption of the equilibrium by some action;
3. a recognition that there has been a disruption;
4. an attempt to repair the disruption;
5. a reinstatement of the equilibrium

Todorov’s theory and the conventions of mainstream film narratives are challenged by our film AB Negative as our plot encloses more than one interference. For example first, the victims being kidnapped; second, the surgeon makes an effort to bring the dead body to life. 

Yakovlevich Propp Character Functions

Propps eight character functions

The Propps character functions. These are based on the character functions according to Vladimir Yakovlevich Propp a Russian and Soviet formalist scholar who analyzed the basic plot components of Russian folk tales to identify their simplest irreducible narrative elements. He then created the 8 character functions:

1.      The villain — struggles against the hero.

2.     The dispatcher —character who makes the lack known and sends the hero off.

3.     The (magical) helper — helps the hero in the quest.

4.     The princess or prize — the hero deserves her throughout the story but is unable to marry her because of an unfair evil, usually because of the villain. The hero's journey is often ended when he marries the princess, thereby beating the villain.

5.     Her father — gives the task to the hero, identifies the false hero, and marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished.

6.     The donor —prepares the hero or gives the hero some magical object.

7.     The hero or victim/seeker hero — reacts to the donor, weds the princess.

8.     False hero — takes credit for the hero’s actions or tries to marry the princess.

These roles can sometimes be distributed among various characters. Conversely, one character could engage in acts as more than one figure, as a father could send his son on the quest and give him a sword, acting as both the dispatcher and donor.

Vladimir Yakovlevich Propp theory is applied to our teaser trailer film basis

Not all of the categories are based on our teaser trailer, as Yakovlevich Propp based this on the theories of Russian folktales and not up to date modern narratives. Below are the categories that applied to our teaser trailer and gave us a closer insight into our teaser trailer and the roles of our characters

The hero, usually male, is the agent who restores the narrative equilibrium often by embarking upon a quest. Propp distinguishes between the victim hero, who is the centre of the villain’s attentions, and the seeker hero who aids others who are the villain’s victims. The hero is invariably the texts central character. (Terri which challenges this theory)

The villain who usually creates the narrative disruption.  (The surgeon)

The donor gives the hero something; it may be an object, information or advice, which helps in resolution of the narrative. (Amy)

The helper aids the hero in the task of restoring equilibrium. (Emily)

The dispatcher sends the hero on her or his task (who can typically be the princess father). (Emily)

The Seven Basic Plot Structures

The teaser trailer we are doing is about seven girls trying to escape the surgeon so we all feel that this comes under overcoming the monster. As the surgeon is more a monster than a human being.

  Overcoming the Monster A terrifying, all-powerful, life-threatening monster whom the hero must confront in a fight to the death. An example of this plot is seen in Beowulf, Jack and the Beanstalk, and Dracula.

  Rags to Riches Someone who has seemed to the world quite commonplace is shown to have been hiding a second, more exceptional self within. Think the ugly duckling, Jane Eyre and Clark Kent.

  The Quest From the moment the hero learns of the priceless goal, he sets out on a hazardous journey to reach it. Examples are seen in The Odyssey, The Aeneid, The Count of Monte Cristo, and Raiders of the Lost Ark.

  Voyage and Return The hero or heroine and a few companions travel out of the familiar surroundings into another world completely cut off from the first. While it is at first marvellous, there is a sense of increasing peril. After a dramatic escape, they return to the familiar world where they began. Alice in Wonderland and The Time Machine are obvious examples; but Brideshead Revisited and Gone with the Wind also embody this basic plotline.

  Comedy Following a general chaos of misunderstanding, the characters tie themselves and each other into a knot that seems almost unbearable; however, to universal relief, everyone and everything gets sorted out, bringing about the happy ending. Shakespeare’s comedies come to mind, as do Jane Austen’s perfect novels.

  Tragedy A character through some flaw or lack of self-understanding is increasingly drawn into a fatal course of action which leads inexorably to disaster. King Lear, Madame Bovary, The Picture of Dorian Gray, Bonnie and Clyde—all flagrantly tragic.

  Rebirth There is a mounting sense of threat as a dark force approaches the hero until it emerges completely, holding the hero in its deadly grip. Only after a time, when it seems that the dark force has triumphed, does the reversal take place. The hero is redeemed, usually through the life-giving power of love. Many fairy tales take this shape; also, works like Silas Marner and It’s a Wonderful Life.

Camera Angles,Shots and Movement

Short Films Research

Mood Board For Questionnaire Results

Questionnaire Results

The results for this questionnaire have given me a huge insight into my teaser trailer production and ideas. The information will go towards giving the target audience everything they expect from teaser trailers in the 21st century. 

Target Audience Questionnaire

Questionnaire on discovering my target audience

How old are you?

15 or under:

16 to 24:

25 to 40:

41 to 55:

56 or over:

Are you male or female?

Male:

Female:

Other:

Do you watch films?

Yes:

Sometimes:

Rarely:

No:

What Film Genre/s Appeals to you most?

Horror:

Sci-fi:

Fantasy:

Romance:

Comedy:

Thrillers:

Action:

Mystery:

Adventure:

Family:

Documentary:

Musical:

Sport:

Western:

Crime:

Epic:

Drama:

How often do you watch films?

More than once a week:

Once every couple of weeks:

Once a month:

Once every couple of months:

Almost never:

Never:

Where do you watch trailers?

Online:

Cinema:

Dvd:

Tv:

Other:

What film certification do you usually watch?

PG:

U:

12:

15:

18:

Do you read film magazines?

Yes:

No:

How do you find out about up coming films?

Trailers:

Teaser Trailers:

Film Magazines:

Posters:

Word of mouth:

Online:

Do teaser trailers make you intrigued to watch the film?

Yes:

Mostly:

Sometimes:

Rarely:

No:

What’s important in a teaser trailer for you?

Sound:

Narrative:

Mis en Scene:

Shot Types:

Genre:

Editing:

Titles:

Colour:

Characters:

Film Footage:

Do you usually watch films in day or night?

Day:

Night: 

Defining Horror Research

I searched online for the history and definition of the horror genre, as our project for film making is based on a psychological horror; which from this information the two go hand in hand. By looking at this information on the web definition I can find a clear cut expectation from our target audience of what a horror genre should include. Below is the wikipedia definition and information about the horror genre.

Horror fiction is a genre of literature, which is intended to, or has the capacity to frighten its readers, inducing feelings of horror and terror. Horror can be either supernatural or non-supernatural. The genre has ancient origins which were reformulated in the eighteenth century as Gothic horror, with publication of the Castle of Otranto (1764) by Horace Walpole.

History

Supernatural horror has its roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and the principle of evil embodied in The Devil.^[1] These were manifested in stories of witches, vampires, werewolves, ghosts, and demonic pacts such as that of Faust.

Eighteenth century Gothic horror drew on these sources in such works as Vathek (1786) by William Beckford, The Mysteries of Udolpho (1794) and The Italian (1797) by Ann Radcliffe and The Monk(1796) by Matthew Lewis. A lot of horror fiction of this era was written by women and marketed at a female audience, a typical scenario being a resourceful female protagonist menaced in a gloomy castle.^[2]

The Gothic tradition continued in the 19th century, in such works as Mary Shelley's Frankenstein (1818), Edgar Allan Poe's short stories, the works of Sheridan Le Fanu, Robert Louis Stevenson'sStrange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1890), and Bram Stoker's Dracula (1897). Enduring icons of horror derived from these stories include Victor Frankenstein and Frankenstein's Monster, Count Dracula, and Dr Jekyll/Mr Hyde.^[3] Other legendary figures of horror from the nineteenth century are the murderers Burke and Hare, Sweeney Todd andJack the Ripper.

Great horror writers of the early twentieth century include H. P. Lovecraft and M. R. James.

Characteristics

The trait of the genre of horror is that it provokes a response, emotional, psychological or physical within each individual that causes someone to react with fear. In order for that response to be elicited there are different techniques used, such as unreal figures (phantoms, mummies, etc.), or more real situations and figures (serial killers). The whole horror genre is built up upon people's fear of the unknown and anxieties. According to H.P. Lovecraft, "The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown."

One of the best-known contemporary horror writers is Stephen King. Beginning in the 1970s, King's stories have managed to attract a large audience, for which he was prized by the U.S. National Book Foundation in 2003.^[4]

I wanted to research more in to other peoples views, definitions and opinions about horror by looking on these two websites I found an insight and more information about horror. The Continued Research on Horror websites: Wikipedia, http://www.horrorfilmhistory.com/

Horror films are unsettling movies that strive to elicit the emotions of fear, disgust and horror from viewers. They often feature scenes that startle the viewer through the means of macabre and the supernatural, thus frequently overlapping with the fantasy and science fiction genres. Horrors also frequently overlap with the thriller genre.

Horror films deal with the viewer's nightmares, hidden worst fears, revulsions and terror of the unknown. Although a good deal of it is about the supernatural, if some films contain a plot about morbidity, serial killers, a disease/virus outbreak and surrealism, they may be termed "horror."^[1]

Plots written within the horror genre often involve the intrusion of an evil force, event, or personage, commonly of supernatural origin, into the everyday world. Themes or elements often prevalent in typical horror films include ghosts, torture, gore, werewolves, ancient curses, satanism, demons, vicious animals, vampires, cannibals, haunted houses, zombies and serial killers. Conversely, stories of the supernatural are not necessarily always a horror movie as well.^[2]

What is considered to be a horror film has varied from decade to decade. Films that were once called horror may now be categorised as thrillers (The Silence of the Lambs, Jaws, Psycho and Seven). The term "horror" is applied to films which display more explicit gore, jump scenes/scares or supernatural content (Wes Craven's New Nightmare, A Tale of Two Sisters, Saw films, The Strangers, The Ring, Session 9,Paranormal Activity.)^[

gothic/horror genre, such as Dracula, Frankenstein, The Phantom of the Opera, and Dr. Jekyll and Mr. Hyde. More recent horror films continue to exploit the monsters of literature.

Horror Films: Why We Like To Watch

Horror is an ancient art form. We have tried to terrify each other with tales which trigger the less logical parts of our imaginations for as long as we've told stories. From the ballads of the ancient world to modern urban myths, audiences willingly offer themselves up to sadistic storytellers to be scared witless, and they are happy to pay for the privilege. Theories abound as to why this is so; do we derive basic thrills from triggering the rush of adrenalin which fear brings, or do horror stories serve a wider moral purpose, reinforcing the rules and taboos of our society and showing the macabre fate of those who transgress?

Horror movies have long served both purposes. They deliver thrills by the hearseload, as well as telling us stories of the dark, forbidden side of life (and death) - cautionary tales for grown ups. They also provide a revealing mirror image of the anxieties of their time. Nosferatu (1922) is not simply a tale of vampirism, but offers heart-rending images of a town beleaguered by premature and random deaths, echoes of the Great War and the Great Flu Epidemic fatalities. At the other end of the century Blade (1998) is not just a tale of vampirism either, but reflects a fear of the powerful yet irresponsible elements in society, echoes down the corridor indeed of the seemingly impunitive behaviour of those at the top.

Each generation gets the horror films it deserves, and one of the more fascinating aspects of the study of the genre is the changing nature of the monsters who present a threat. In the early 1940s, a world living under the shadow of Hitler's predatory tendencies identified a part-man, part-wolf as their boogeyman, whose bestial nature caused him to tear apart those who crossed his path. In the 1990s however, there was no need for a part wolf component: Jonathan Doe (Se7en 1994) and Hannibal Lecter (Manhunter 1986, Silence of the Lambs 1991, Hannibal 2001) were entirely human in their calculated and stylised killing methods. As we move on into the twenty first century, the ghosts and zombies are back in vogue as Eastern and Western superstitions converge, and once more we yearn for an evil that is beyond human. In an era of war and waterboarding, supernatural terror is more palatable than the fear inherent in news headlines.

"If movies are the dreams of the mass culture... horror movies are the nightmares"  — Stephen King, Danse Macabre