Unit 22 LO1.pptx

UNIT 22- SCRIPTING FOR MEDIA PRODUCTS

GLOSSARY
• Bias- positive and negative traits to your characters. A bias can be subtle or overt, positive or negative.
• Capitalization- Character’s name will be presented on the script in capital letters above the dialogue that is spoken.
For example, VICTORIA.
• Elaborate code- A way of talking which is explicit and does not assume that the listener shares the same
assumptions and understandings as the speaker
• Fiction- a story meant to entertain or convey an author's point of view- a made up narrative.
• Font style- The standard font style used for script is Courier. This is universally used and it is easy and clear to read.
• inciting incident- the event that sets the main character or characters on the journey that will occupy them
throughout the narrative (masterclass.com)
• Linear- a narrative told in order of events
• Mode of address- how the text speaks to the audience
• Multi- stranded- Where there are multiple narratives happening in the same film. These are commonly seen in
romantic comedies
• Non fiction- The opposite to fiction, where the film is based on real-life events.
• Non- linear- Where the narrative is written in a way which it is out of chronological order
• Parenthetical (brackets)- This is an instruction given on a script about how actors voice the dialogue of the
characters being portrayed. A parenthetical remark can be an attitude, verbal direction or action direction

• Plot point- Major events in a story that can affect the course of the plot as a whole
• Restricted code- Where the meaning of the piece of dialogue cannot be easily understood without context behind
it.
• Screenplay- original works or adaptations from existing pieces of writing for tv, film or video games
• Script- text that directs an actors use of words *and actions
• SFX- sound effects that can be featured as part of a script to emphasize the action: for example, gunshots in an
action film to connote the tension, excitement and add realism to a scene.
• Shooting script- the version of a screenplay used during the production of a motion picture. Use of scene numbers,
and they follow a well-defined set of procedures specifying how script revisions should be implemented and
circulated
• Singular stranded- a story that has one central character or hero acting in a single plot
• Slugline- Scene Heading, mark any change in location or time in a screenplay.
• Three act script- a model used in narrative fiction that divides a story into three parts, often called the Setup, the
Confrontation, and the Resolution
• Script revisions- are marked with asterisks in the right hand margins of the revision pages. When many revision
marks are present on a single page, or within a single paragraph or scene, the marks may be consolidated into a
single mark.
GLOSSARY

• Purpose- inform/ educate/ entertain/ advertise
• Elaborate- language that is informal easy to understand : spoken
language used in tv drama/ the news
• Restricted- language includes technical terms and is formal: specialist
language

The difference between screenplay/ script
and shooting script
Screenplay (visual)- refers to something written for a tv program and
film
Shooting script (happens after screenplay) - include camera directions
mad by the director and cinematographer based on their intentions for
how the action is to be framed and overall look. It’s a production too so
that all the crew know what to bring and do ahead of filming
Script- can apply to stage play, radio show or video game

Slugline
Ext/ int.. Location. Time
(caps)
Characters first appearance
(capitals to differentiate)
Parenthetical (Action)-
action or attitude direction
a character 'lying in bed...'
Editing/ shot types )-
Mores and continueds-
between pages to
indicate character still
talking
Dialogue in the middle
( always in capital
letters) distinction
VO: voice over
OS: off screen
Sub heading- doesn’t
need a full heading/ a
zoom in to a location
within a location; table at
a restaurant
Extension- how voice
will be heard on screen

Video game content is written in a "passive format"
(because it works best in situations where the player is
a passive spectator, such as when watching the cut
scenes) Cutscenes are probably the closest you’ll get to
traditional scripts during video game production.
cutscenes are usually short video sequences designed
to provide exposition, as well as breaking up levels or
sections within levels of a game, which resembles the
format used by movies and tv shows. Script supervisors
use the margins and white space to make necessary
adjustments, the large font and capitalized words make
it easy to locate content in a hurry.

1. Who is the intended audience? How do you know?
I believe the intended audience are a mass of experienced older gamers,
that of which fans are of the Tomb raider franchise (being any gender and
between the ages of 18- 40's) this is evident in the fact we open with off
screen dialogue from Croft – we don’t need an introduction to her character
because the target demographic will already know who she is from the
original 1996 game or its successors and would rather get straight into
gameplay.
The script makes it a priority to have the opening cut away high paced and
action packed through the to captivate and immerse new players instantly .
This shows that its intended audience must be attentive and experienced to
be thrusted into immediate action
2. Is the script meant to inform, educate, entertain or advertise? How can
you tell through the language? Underline anything specific that makes its
purpose clear.
The script's purpose is to entertain and immerse players by having the
audience engage within an adventurous fictional plot via a personal
relationship with the games main character . This is evident in the script's
use of language; the use of mode of address in Croft's opening narration,
allows the audience insight to the characters mind. For example, 'In our
darkest moments-we find something-that keeps us going-that pushes us.'
Not only does this allow a more engaging experience with the games
characters but more so develops her character, we know now ,from her, that
she's resilient and resourceful, so when the eventual gameplay commences,
players have a better understanding on how the mechanics of playing her as
a character should play out.
Language
Tomb raider script

3. does the script utilize restrictive or elaborate code?
With tomb raider 2013- there's a fair use of elaborate code within the
language in order to not complicate the action with long winded
descriptions and dialogue but so that so even for new players the
dialogue and action unfolding is easily understandable and clear to pick
up on .
4. to what ratio are restrictive or elaborate code used?
Restrictive code is not used to the same extent as elaborate here as in
order for the game to progress, players must be given a clear sense of
story as well as instructions to know how to make their way through the
game play. The use of restrictive code would literally restrict players from
making any progress within the game's stages. Complex and formal
language may be used within the coding of the graphics or to program
the game's flow charts however this will not make its way through into
the final storyboarding and dialogue (within cut scenes or instructions) as
gain this could set players back and takes away from the fun of a mindless
adventure. It more so grounds the character in realism, she is reacting to
things going wrong as anyone (including the player themselves)
would e.g., 'no, no...oh god-'
Language
Tomb raider script
5. how has mode of address been used and what effect
The mode of address utilized here is informal- as Laura talks directly to
the player in the opening segment, she uses 'we' as a substitute for I
when talking about those 'darkest moments' this helps form a bond with
the player and makes her character seem more relatable for a better
experience when playing as her as the game progresses

Television content, in particular, news segments are written to
be "conversational" writing for how it will sound spoken, Each
sentence should be brief and contain only one idea, the shorter
the sentences the better as it comes off simpler and more
direct. If given too much information at once, audiences may
become bored and switch over, therefore elaborate code is
encouraged so that the terminology and descriptions used are
familiar to everyone.
Writing for television is different from writing for print for
several reasons; you have less space and time to present news
information. Therefore, you must prioritize and summarize the
information carefully. moreover, your listeners cannot reread
sentences they did not understand the first time;
they have to understand the information in a broadcast story as
they hear it or see it.

Language
1. Who is the intended audience? How do you know?
The intended audience for the news reading is that of those who own cars that
are new to driving (being young adults between the ages of 15-17) and/or their
parents/ guardians. The article covers how prone to accidents those under the
age are when driving. this is evident in the story's topic and the mode of dress
being formal but not restricted so that younger audiences can pick up on
what's being said
2. Is the script meant to inform, educate, entertain or advertise? How can you
tell through the language? Underline anything specific that makes its purpose
clear.
The script is meant to both inform and educate younger adults and those under
the age of the dangers of driving whilst shedding light on how to combat that risk
with more assessable courses
3. does the script utilize restrictive or elaborate code?
The script again uses elaborate code so it's easier for younger audiences to pick
up on and so that the statistics and vital information aren't clouded by heavy
and complex words.
4. to what ratio are restrictive or elaborate code used?
There's little to no use of restricted code within this article to ensure the message
is heard loud and clear
5. how has mode of address been used and what effect
The mode of address is for the most part formal, so the topic is taken seriously
however through interviews with learners and instructors there's much more of
an informal address as it helps young people relate and listen to what's being said
rather than feeling like they're being lectured

Format & layout
This is crucial for making your script look authentic and will be the easiest thing to see if it is wrong!
To sum up, it's how the script ‘looks’, how it is laid out and the conventions you need to follow
to make it look like a real script.
Video
games
Film
Radio
T
V

Format & layout: television
For my example I chose Breaking Bad's pilot
(2008)
Conventions of a Television script (fictional)
•With film, you're generally telling a story that is contained within the time
frame of 90 minutes to over two hours. There's immediate closure unless you're
writing for a major studio franchise that can leave some story elements open to
sequels.
•With television, you're creating a world with a cast of characters that will
hopefully continue for 10-24 episodes (give or take) for multiple seasons, thus
the main story will not be resolved by the end of each teleplay or television
script. While each episode may showcase a certain story that is resolved by the
end, the characters, their main stories, and their arcs continue on throughout
each season. In short, a television series is an ever-evolving medium for the
story and characters while a film stands alone on its own with complete closure
by the end.
• Structurally, TV uses the same formatting as film, in regard
to having a SLUGLINE, DIALOGUE, PARENTHETICAL BRACKETS and even
following a THREE ACT STRUCTURE, however due to this restricted time
frame, teleplays function under a much more rapid narrative for that
specific episode.
•Per episode, TV drama's scripts have a structure of a 3-act structure
(differentiating depending on time frame to be 4 or even 5
acts) this helps format the episode whilst utilizing the breaks between each act
for adverts (if it’s a terrestrial release)

Example from Breaking Bad's pilot (2008)
•First, in the script, you'll have a TEASER heading centered; this TEASER will usually be
a short opening, maybe one location (sometimes more). The page number can be
upwards of 5 pages.
For pilot episodes such as Breaking Bad's (to the left) the teaser is an introduction to
the characters and to the world. It will also tease the conflict in the story, you'll often
see the character either in peril by the end of it, or the conflict of the story will be
teased. From the beginning of this script alone, we are introduced to the barren
westernized setting of new Mexico and the reckless and dangerous character
of Walter white.
•After the TEASER, you'll then start a new page with the ACT ONE heading, this is
where you introduce the current story at hand. You've teased the peril, struggle,
conflict, or situation that the episode will tackle, but now you're getting things really
started by setting the stage as far as where the characters are and what is leading up
to the point of the next act where they will be confronted by the situation at hand.
The end of the first act also offers a chance to leave a solid first cliffhanger or hook as
well ( this is a common occurrence at the end of most if not all acts)
• ACT TWO is where the characters are dealing with the conflict in full swing
(struggling and trying to work with it) . Much like the beginning of the second act of a
feature film script, the characters often still have some hope or chance. By the end of
this act, the audience feels like the characters may figure things out until another
hook is introduced that forces the characters to face the fact that they may not
succeed.

Example from Breaking Bad's pilot (2008)
•In ACT THREE the characters are at their lowest point and the conflict is winning.
Where the second act gave the audience hope that they'd figure it out, all too often
the THIRD ACT is where that hope was proven to be false. By the end hook of this act,
audiences will want to tune in to see how the characters will prevail despite such
odds against them an this is where depending on the run time, some shows may
conclude the episode or extend it to a 4-5 act structure.
• The characters, against all odds, begin to prevail again in ACT FOUR. They start to
triumph and win. They've likely learned from their missteps in the first and second
acts and now they're applying that to the conflict at hand. Which is swiftly followed
by (if necessary) ACT FIVE ;the closure. In most cases this where the conflict is
resolved and allows a clean slate for the next episode- you find this often with sit-
coms/ comedy shows like The Simpsons- however in cases like Breaking Bad, the lack
of a conflict resolution or in the character's case, accountability, the show is able
to set up a seasonal arc to engage audiences whilst fleshing out the shows
characters.
•While there's no exact formula to follow, there are some basic guidelines that will
help steer each act. Generally speaking, hour-long episode scripts can be anywhere
from 45-63 pages, the basic sense of it is that one-page equals one minute, and with
a 60-minute show, script writers obviously account for commercial breaks.

Format & layout: radio
A radio play script follows a distinctive format that allows the
playwright to convey how sound and music will be used in the
performance. For instance:
• one page of dialogue is approximately one minute of air time
• each scene should be numbered
• lines are usually double spaced
• sound and music cues are triple spaced
• paragraphs are triple spaced
• all cues are capitalized and numbered. Cue numbers start at
number 1 on each page
• notes for pronunciation, physical action, and position of characters
are indented
• the script is typed on one side of the paper only to reduce handling
noise
Conventions of a Radio script (fictional)
Example from A History Of Paper (BBC four)

For my example I chose a news segment from BBC
Radio one's News beat
Writing for radio news means there's less space and
time to present news information. Therefore, the
information is prioritized and
summarized carefully. listeners cannot reread
sentences they did not understand the first time; they
have to understand the information in a broadcast story
as they hear it or see it. As a result, ELEBORATE
CODE is utilized through writing simple and clear. In
radio, the script writer is writing for “the ear.” Radio
has the added complexity that it has to sound good.
Also, for a radio news story, listeners cannot see video
of what's being said, so he script has to be formatted in
a way that must paint word pictures with the words
used in the listeners' mind.
Conventions of a radio news script (non-
fiction)

• Usually brief, the radio station only has a small amount of time to
cover quick and relevant stories, so a lot of the information
is condensed.
• formatted so the important information comes first, hooks listeners
attention and means news isn't overshadowed by the upcoming music.
• short sentences of 20 words or less to ensure the announcer has time
to breathe. Long sentences make it difficult for the person voicing the
script to take a breath.
• Use of ELABORATE CODE so mass audiences can pick up easily what's
being said. e.g., my chosen news segment simplifies words like 'friend'
and 'fighting' instead of 'contending' or 'compatriot'
• radio news stories, write with visual imagery, allowing listeners
to “see” what hosts are re-telling. It Helps them visualize the situation
that’s being described . Some radio news scripts even include
suggestions for environmental noise or stings to help set the scene for
the listener.
• Broadcast news stories are typed, double-spaced, and in
uppercase/lowercase.
• the sentence at the bottom of a page is complete sentence so there's no
split sentence between pages.
• Same goes for splitting words or hyphenated phrases from one line to
the next. Allows reader to say information quickly and smoothly.
Conventions of a radio news script (non- fiction)
Example from BBC radio one's newsbeat

Format & layout: film
Conventions of a film script (non- fiction)
• When looking at structuring a screenplay one of the most Vital aspects
to its success is the order of which the narrative is told whether through
a NON-LINEAR NARRATIVE Where the narrative is written in a way
which it is out of chronological order or a LINEAR one- a narrative told
in order of events, or (much like my film of choice) a MULTI-STRANDED
NARRATIVE where there are multiple narratives happening in the same
film. These are commonly seen in romantic comedies (that in an odd
way adaptation might fall into slightly) the opposite of which being a
SINGLE-STRANDED NARRATIVE following only one plotline.
• Most commonly used when structuring a script for a featured motion
picture is the THREE ACT STRUCTURE . Each act's characterized by
certain elements that move the story forward (more on slide ) to
summarize, the THREE ACT STRUCTURE divides a story into three parts,
often called the Setup, the Confrontation, and the Resolution.

Format & layout: film Conventions of a film script (non- fiction)
• Courier Font
•1.5 inch left margin
•1-inch right margin
•1 inch top and bottom margins
•Around 55 lines per page regardless of paper size. This excludes the page number
and spaces after it
•Actor parenthetical
•Dialogue speaker names (in all caps)
•Transitions are capitalized (sometimes important props, sounds, and camera
movements)
•Dialogue 2.5 inches from the left side of the page
•Slugline :Ext/ int.. Location. Time (caps)
• VO: voice over
• OS: off screen
• Mores and continueds- between pages to indicate character still talking
• Extension- how voice will be heard on screen
•Page numbers:
•In the top right corner
•Flush to the right margin
•Half-inch from the top of the page
•Numbers should have a period after
•The first page is not numbered
•The title page is not numbered and does not count as page one
•The first page to have a number is the second page of the screenplay (the
third sheet of paper including the title page), which is numbered 2

Format & layout: video games
Conventions of a video game script (fictional)
• Writing a video game script is very different to writing a movie script or a
novel. Writers are faced to contend with different choices taking characters/
players through different routes, not to mention, having to deal with the
limitations of game programming. the writer is often pulled on board long
after the basic premise and setting has been decided.
• FLOW CHARTS is the games way of developing every possible option that
allows the gamer to feel like they are really controlling a character organically
within that world. A FLOW CHART reads much like an extreme version of
those old Choose Your Own Adventure books. It's highly technical with the
foundations of the story and character development but just enough to keep it
interesting for the gamer. In my chosen game, though constricted to a singular
narrative, the games FLOW CHART can determine the outcome to a fight or a
wrong turn etc.
• SIDE QUESTS are smaller missions and quests that the characters can embark
on, usually used as a way to encourage the player to invest more time into the
game or want to revisit it to complete
• Character descriptions and biographies are pretty self explanatory, Every
character has to have a description and breakdown so that game designers
can properly develop them together, as far as who these characters are, what
they look like, and what they are capable of.

Format & layout: video games
Conventions of a video game script (fictional)
• NPC (non-player characters) DIALOGUE SCENES are
when gamers and the characters they control will
interact with non-player characters throughout the
FLOWCHART of the game. The dialogue needs to be
written for these many moments, e.g., (Resident Evil to
the right).
• CUT SCENES are cinematic scenes or sequences that
are usually found before, during, and after the
gameplay. Within the game, they are used to push the
story forward after the gamer has achieved certain
goals.
• Final Storyboard Script basically is, If there's anything
that is similar to a feature film screenplay within the
video game development process, it's the storyboard
script. This is written after everything mentioned above
has been completed. Consider this to be the master
storyboard that documents the gameplay and story
elements from beginning to end.
• Overall, the game writer isn't working as a screenwriter would, as far as creating these characters, worlds, and action. The
game designers are working from what they are capable of building through their design with the budget and staff they
have. Thus, the game writer is merely working around what's been made.

Video games
Film
Radio
T
V
Three act
structure
Capitalization
Parenthetical
(brackets)
Slugline
Mode of address
Non fiction
SFX
Elaborate code
Teaser
no split sentences
Cut scenes
Flow chart
Side
quests
double-spaced
Mores and continued
Restricted code
Fiction
Shooting script
Script
screenplay
Pilot
Scripts aren't
visible in final
product
Scenes/
acts
chapters
can be
numbered

Three act script
Feature films are usually structured into three acts. Each act is characterized by certain elements that moves the story forward. In
a nutshell, Act One introduces the characters and starts the problem or conflict in motion. In Act Two the adventure begins and
the conflict intensifies. In Act Three the problem comes to a head and is finally resolved.
Act One is the beginning of your story, you’ve got one chance to grab your audience and pull them in. In Act One you introduce
your main character (the protagonist). You also introduce a plot point ( a major event in a story that can affect the course of
the plot as a whole) in particular the use of an inciting incident- the event that sets the main character or characters on the
journey that will occupy them throughout the narrative, the element that sets the story into motion and so begins the journey
that leads into Act Two.
In Act Two the conflict intensifies and the enemy (the antagonist) is introduced, if not introduced by the end of Act One. The
antagonist can be things like
A person
Nature
A disaster
The antagonist can also be any combination of these and other challenges.
In Act Three the conflict comes to a climax and the problems are finally (hopefully) resolved.
Conflict is what propels a story into motion. Without conflict, you have no action. Every day you deal with conflict, good or bad.
Paying bills, getting stuck in traffic, having an argument with your spouse, missing your plane, getting a flat tire, being too rich.
Conflict usually starts when your protagonist, the lead character, encounters friction, a problem. Your character then deals with
and tries to solve this problem. If the story is a good one, the protagonist grows from her experiences, whether she eventually

SCRIPT CONVENTIONS: STYLE Match the definition to the term
The narrative is told in chronological
order. For example, the beginning
establishes the plot, then a disruption
and a resolution at the end.
This is when multiple narratives are
happening at the same time. E.g., in soap
operas.
A narrative that follows a main
character/protagonist even if there is an
antagonist who disrupts the equilibrium.
The narrative scenes are not told in a
chronological order. For example, the
disruption could be told first.
Non-linear
Multi stranded
Linear
Single-
stranded

SCRIPT CONVENTIONS: TYPES
1. What are the main differences between a fiction and non-fiction script?
the main difference between fiction and non-fiction is that fiction is an outcome of
imagination, whereas non-fiction is wholly based on facts and reality
3. What are the
differences in planning?
Think about these
3 programmes. At which
point of planning would
the script emerge and
why?
Through pre-production,
the foundations of the
script are formed to give
the episode a certain
storyline, however
especially in cases of
reality and competitive
tv, the narrative is
developed through
postproduction- through
editing, show runners are
able to fabricate
storylines, conflicts and
relationships between
contestants
2. Can you give 3 examples of non-fiction programs:
Reality tv: Big brother- TV programs in which ordinary people are continuously under
surveillance being filmed , designed to be entertaining rather than informative.
Documentary: blue planet- using pictures or interviews with people involved in real
events to provide a factual report on a particular subject.
Cooking shows: Master Chef- a television genre that presents food preparation, often in
a restaurant kitchen or on a studio set, or at the host's personal home (come dine with
me)

Angle of article
This is an important factor when looking at nonfiction scripts in particular. Different viewpoints
important in documentaries and factual programming
Two people can watch the same thing and have very different readings of it based on their
cultural/social backgrounds, their gender, sexual orientation etc.

SCRIPT CONVENTIONS: ANGLE
BROADSHEET:
The guardian would most likely will to appeal to a more upper-
class demographic- the information isn't as concise as that
of tabloids. This could suggest that readers of the guardian
have much more spare time on their hands too read the 'full
story' meaning they have much more flexible working lives.
The images show little diversity within parliament and
therefore its presumable that this issue is targeted more at
older and a whiter audience as they are the group more
represented in this article. the title also suggests the paper has
a more left leaning audience using language that paints both
may and the toires as aggressive, short tempered and mean-
spirited. Its overall intentions is to inform the public on the
current (at the time) Brexit affair.

MIDMARKET TABLOIDS:
Mid-market tabloids are aimed more at a working-class
audience- the information (though told through a biased lens)
is quick to the point- big and bold so readers get the most
important information first without having to scope out a lot
of time out of their day to read it. the use of images and
colours are eye grabbing- suggesting this is amid at a slightly
younger demographic- whom stereotypically have sorter
attention spans and need something bright to grab their
attention. The tone of the title is almost sympathetic with May
suggesting this is also aimed towards a more right-wing
audience. The papers overall intention is to inform (through a
slightly more biased lens) the situation May is facing in the
Brexit deal.

TABLOIDS:
The sun like the daily mail utilizes images and colours to draw
audiences in for a younger audience, only going one step
further by showing that the paper doesn’t take the situation
seriously, mimicking May by plastering her head onto a do-
do and making her the punchline for the Brexit ordeal.
There's almost no information about the story apart from the
box of writing bellow May's head and even then, is heavily
biased as the paper is an openly conservative news
outlet. the sun also aims at working class families- having a
voucher/ advert for a family holiday in the top right
corner. its overall intentions is to make a joke of May and the
situation as a whole to 'inform' and entertain

Angle of an article
(fiction)
• Looking at black panther (2018) the film's intended audience is that of the black
community around the globe of any gender or age above the age of 12 (due to mature
scenes that’s not suitable for very young children). Though it can be watched by any
ethnicity- it's aimed at the black community in particular as there is rarely this kind of
representation in mainstream media, let alone in superhero movies. It's so common in for
media for black characters to be forced into a box, reducing them down to nothing but
a stereotype but here the film dives deep into the main characters southern African
culture, a culture that isn't reflected enough in modern media, whilst more so giving him a
well thought out and fleshed out character rather than pushing him into an already
existing box. Neither is the character weighed down by ignorance or racism in the film, he
is stronger because of who he is.
• Someone who is a black British male will come out of the film feeling most likely satisfied
and liberated as its not often that members of the black community are represented
appropriately in a positive and unoffensive light-
• Whilst a Male White British nationalist will probably leave the film feeling cheated and let
down by a lack of his representation (though already being represented fairly enough in
the media). He would most likely dismiss the appearance of martin freeman as a
representation of himself as he plays a very unsignificant role in the grand scheme of the
story . As a nationalist there's a very small chance, he took anything away from the film
again disinterested in a reflection of a culture and people other than his own.

FILM SCRIPT: Parasite (2019)
Type of script: (Choose from: UK, European, World Cinema)
Language Elaborate code is used to give a clear yet detailed description of the setting and characters for members of production to read as instructions towards replicating the world of the
film through casting and set design. The dialogue more so incorporates elaborate code in the interest of the audiences, using informal language between characters, keeping it
simplistic enough to be understood by mass audiences whilst communicating a believable on-screen relationship etc. “That’s my son. Man with a plan.”: Ki-Tek page 9
Format & Layout
Conventions specific to this type of script
Courier Font
1.5-inch left margin
1-inch right margin
1 inch top and bottom margins
Scene headings (sluglines) for every new setting e.g., INT. MANSION - DA-HAE’S ROOM - LATE AFTERNOON page 19
*Use of capitalisation for characters and slug-lines
Dialogue bellow character’s name (both placed centrally)
Actions written within (parenthetical brackets)) (nervous)- Yon- Kyo page 38
Transitions are capitalized e.g., FLASHBACK page 94
important props are sometimes capitalized e.g., PIZZA TIME HOT SAUCE PACKET page 51
sounds (sfx) e.g., FOOTSTEPS page 28
camera movements e.g., CAMERA BOOMS UP TO REVEAL-- page 39
(V.O.) Ki-Jung “She’s an old fox. She acts like she’s Mrs. Park’s sister”. Page 44
Three-act script Three act script is a model used in narrative fiction that divides a story into three parts, often called the Setup, the Confrontation, and the Resolution
Parasite doesn't follow a typical three-act structure, because it is, in a sense, two movies combined into one. The first film deals with a story of a poverty-stricken family, the
Kims, who cunningly place themselves in the service of the Parks, an obscenely wealthy household. However about 50 minutes in, after the Kims have removed all the existing
employees to essentially take over the house- there is Suddenly no conflict left to carry the film, and the story comes to a literal stop. But it's the sequence that bridges the end
of the first film to the unexpected second where Bong (the harboring stranger living in Parks basement) stages his attack- flipping the narrative on its head as he attempts to
expose the Kims.
Angle of article 2019’s parasite is targeted at an audience of those within both the working and upper-class (any genders above the age of 15 and of no ethnicity in particular). Both class groups
and array of ages are represented within the narrative through equally morally grey characters of the Park’s family and the Kim’s family. The Parks are avaricious with their
wealth whilst having a loving family dynamic representing that of the ignorance of the upper-class who may not be doing anything out right wrong but decide to overlook
problems their money could easily solve, opting to be clueless members of the ivory tower that are dependent on the lower class. The Kims on the other hand though loving and
trusting as a family are simultaneously over ambitious with their plan- stealing and infiltrating into and from a world they’ve been robbed of yet end up causing more harm than
good (like a parasite). They represent the working class that will do anything to obtain a middle-upper class life, they see no wrong in what they’re doing because they’re fighting
to get out of a situation they don’t deserve- it is only through duplicity that the Kims can even come close to the wealth the parks.
As the writer/ director Bong Joon-ho’s intentions with these characters are to show the targeted audiences through dark satire the very real class conflict and wealth inequality
still present in modern times.
Style i.e. single-stranded multi-stranded
linear non linear
Parasite is a linear and mostly single stranded narrative- only occasionally flashing back to past events (e.g., Da-song seeing Sae emerging from the cellar page 96) or through the
perspective of Sae (when his wife releases him from his constraints in the cellar page 112).
Type i.e. Fiction non fiction Though Parasite’s screenplay is a fictional tale, though the narrative and characters followed are said to be a real reflection of the state of economic class within south Korea,
specifically the banjiha’s of Seoul.

TV SCRIPT: BBC’S Tim Muffett’s school report (news package)
Type of script: (Choose from: news broadcasting, documentary, soap, drama)
Language News packages use a mix of both elaborate and restricted code within their script to help make the story understood within a mass
audience whilst sounding formal. When language is utilized within a news broadcasting script its considered that what’s written comes of
smooth and concise, so viewers have a clear understanding of the story. Sometimes rhetorical questions are implemented to open a story so
that audiences feel represented by the station- answering the questions that they have e.g., ‘should schools hold more lessons outside?’
page 1 Occasionally restrictive code when in the scripts language to ensure the reassure the presenter comes come off as formal and
professional e.g., use of words like ‘al fresco’ page 1.
Format & Layout
Typed doubled spaced
Cue- the introduction that another presenter gives before they hand over to the journalist presenting the reporter e.g., (SIAN WILLIAMS)
page 1
Throw: the presenter from the studio hands over to a reporter on the scene somewhere e.g., (THROW - BILL SCREEN) page 1
SOT- stands for 'sound on tape.' a short clip of an interviewee usually between 5-15 seconds e.g., Head teacher clip page 1
UPSOT- The sound of something other than an interviewee (for example here the students that are catching bugs, or the use of archive
footage). E.g., Kate Humble with children page 1
PTC- Piece to Camera: meaning that the reporter is standing in front of the camera to read their script e.g., Talking about direct access to
wildlife in outside learning page 1
VO- Voice Over means that the reporter reads his script over the pictures e.g., send off line about children catching bugs page 2
Three-act script A broadcast script, unlike that of a narrative structure within fictional film and television, doesn’t utilize a three-act script- though may
present the news asking and addressing the most important news/ information first and then going into details via interviews and studies
later. Their main priority is to get the public aware of the most pressing concern about the story first and fill in the blanks later. This is seen
in opening segments where the bbc primarily tells snippets of big stories back-to-back before diving into each one individually in their own
package. Here, the story isn’t as intense as what’s most likely come before it, the script opens by addressing the big question about the
topic, should schools hold more lessons outside? Going on to say the weather might be a bit unpredictable but many believe teaching ‘al
fresco’ and that no matter where the class is set- outside learning helps improves concentration and makes lessons more interesting. This is
followed by Turnbull stating three charities are today launching a campaign to call for outdoor learning and that Tim Muffett has ‘gone back
to school’ within Suffolk to test out the theory.
This is followed by Muffett’s time at the school interviewing teachers and overall concluding that teaching outside should be encouraged
more often
Angle of article The article is targeted mainly at young children’s parents whose kids maybe partaking in outside learning at school (roughly middle aged).
The article attempts to simmer down moral panic by addressing protentional risks first (e.g., bad weather) and ending on positive later so
those whom have stayed all the way through leave on a positive and reassured note (e.g., how outdoor learning is beneficial, helping
children to concentrate more and overall just a bit of fun- ‘school outings can be very memorable’. Having the story broadcasted on the bbc
can suggest the story is more so aimed at a higher class of people- as stereotypically the bbc is a very formal way to state the day. This can
also be deciphered from the fact that potential bad weather on a school is trip is very much a 1st world problem.
Style i.e. single-stranded multi-stranded linear non linear Again, the script doesn’t utilize story structures used in that of fictional tv and film as they can’t write a conclusion for themselves.
Type i.e. Fiction non fiction The script is non- fiction, following a real story taking place within Suffolk

RADIO SCRIPT: BBC Radio 4’s Tony Teardrop
Type of script: (Choose from: drama, current affairs, news)
Language The script uses elaborate code to ensure listeners can easily pick up on what the characters are talking about and what their relationships without seeing them. It
also allows the actors voice to paint a picture in the viewers mind overall making for a more engaging experience than if they were to read the play themselves or
have characters presented to them on tv.
Format & Layout
one page of dialogue is approximately one minute of air time
each scene is numbered and underlined e.g., SCENE 2. EXT. DAY.COUNCIL TIP page 1
lines are usually double spaced
sound and music cues are triple spaced
paragraphs are triple spaced
all cues are capitalized and numbered. Cue numbers start at number 1 on each page
notes for pronunciation, physical action, and position of characters are indented e.g., (TALKING WITHOUT DRAWING BREATH) page 2
the script is typed on one side of the paper only to reduce handling noise
character’s names at the far left of the page (capitalized) e.g.,
cues for SFX are held in brackets e.g., (ROZ TAKES FORMS) page 6
Three-act script Set in and around a support center for the homeless, we follow Tony and his homeless companions as they reveal their pasts and struggles with the hardships, they
face living on the streets. Tony Teardrop is a sorrowful yet humorous story about homeless people living on the breadline. The radio drama follows the character
of Roz (a homeless drug addict) who has four adult children- mainly zooming in on the relationship between herself and her eldest daughter Carly. Tony Teardrop
is also homeless, and a parent; he's hoping to arrange a visit to see his two boys, who are in long term foster care. When Tony and Roz meet a relationship
develops. There isn’t really a three-act structure, as the play is more a compilation of character studies. There is a vague structure through the set up (of the
characters) and no real conflict, as the story slowly unfolds to end on a ambiguous note the play ending with Roz losing contact with her children but still ‘walking
off into the sunset’ with tony. Only the ending is portrayed through a cynical and bittersweet lens of ‘the one-way street’- symbolic of how the type of life they
lead is inescapable.
Angle of article Based on real events and people, the play explores the true meaning of ‘family’ and ‘home’ within the lives of these unfortunate individuals. Aimed at all classes,
genders and an array of ages (though probably more aimed at older audiences due to the mature content). The writer is trying to inform and educate mass
amounts of people the trails and tribulations people face when living on the street. The lack of imagery hammers this message home as it doesn’t give being
homeless a ‘look’ this could be anyone- and therefore people who do live on the streets shouldn’t be treated any differently than other members of society. The
writer is trying to encourage audiences to be more altruistic or at the very least, less ignorant of these issues moving forward.
Style i.e. single stranded multi
stranded linear non linear
There seems to be a multi stranded narrative prior to the pairs meeting, having tony and his companions share life stories in contrast to Roz’s (not so great) family
dynamic- her relationship with her daughter Carly in particular. The story becomes more linear when the two crosses paths. It’s told through a linear structure.
Type i.e. Fiction non fiction Though the narrative itself is fictional- it’s based on true stories of what many homeless people encounter on the streets.

VIDEO GAME SCRIPT:
Tomb Raider (2013)
Language The language for the most part is elaborate to communicate clearly to players what’s going on and to not over complicate
what’s happening with the boat flooding with heavy complex dialogue from croft.
Format & Layout
NPC (non-player characters) dialogue scenes e.g., Local resident page 3
Cut scenes (this whole segment of the flooded boat is an example of this)
Flow charts- determines outcome of certain control option (take a wrong turn- die)
Text all runs across the page from the left-hand side
parenthetical brackets e.g., (Looking at the sea, she sees a boat.) page 3
Location/ time sits solely to the left end of the page (format similar to an address on postage) e.g. Dragonâ€™s Triangle,
South of Japan Endurance Expedition â€“ Day 22 23:00 hrs. page 1
Sfx held in <> e.g., water drips page 2
Character’s names held in [ ] e.g., [Laura] page 1
Three-act script There isn’t enough text within the game’s script to include a three-act structure, therefore- no set up, conflict or resolution
for the overarching story.
Angle of article The intended audience are a mass of experienced older gamers, that of which fans are of the original Tomb raider franchise
(being any gender and between ages of 16- 40's) this is evident in the fact we open with off screen dialogue from Croft – we
don’t need an introduction to her character because the target demographic will already know who she is from the original
1996 game or its successors and would rather get straight into gameplay.
Style i.e. single-stranded multi-
stranded linear non linear
The scene itself is told in a non- linear fashion via a voice over from Laura suggesting that these events happened in the
past for her to recount though the actions are told chronologically. Its singular stranded as we only follow Laura as we play
as her.
Type i.e. Fiction non fiction The game and its script is completely fictional, using common tropes of the ‘adventure/action’ genre with a chiasmatic
female lead.

What action does in a script
• Describes the action happening
• Describes the location of the scene if it’s the first time we are seeing
it
• Describes characters when we first meet them or if there has been a
significant change in appearance

When writing a script
• Your writing needs to be visual and written in the present tense
• Don’t write about internal thoughts without eternal context
• Write what we can see and hear
• Write visually
• Not thoughts and feelings
• Write in present tense
• Metaphors are ok to aid visualization e.g.
• Level of description needed to add visuals
• Font must be courier and size 12
• Characters- every time a character's names used should be in capitals
• Parentheticals (brackets under character’s name) used to add inflection/ stage direction to speech. These
can be overused (use when necessary) can add into action if necessary
• Dialogue- keep it to a minimum don’t repeat yourself, don’t write it as a natural conversation film dialogue
get to the point much quicker

Adam steadily parks his car behind a wall of bushes, headlights off,
slowly hoisting himself up and out the car, leaving the door hanging
open behind him. Breathing heavily, he crouches down, peering
through a gap between the tangled branches. As he waits, he wipes the
sweat from his brow, socking the sleeve of his already dirty sweater.
Write action with prompt task

Unit 22 LO1.pptx

Recommended

Recommended

More Related Content

Similar to Unit 22 LO1.pptx

Similar to Unit 22 LO1.pptx (20)

More from ClaraHennig

More from ClaraHennig (20)

Recently uploaded

Recently uploaded (20)

Unit 22 LO1.pptx