The seminar by J.K. Anubhav presents an in-depth exploration of narrative techniques in filmmaking, emphasizing the thematic and structural elements that contribute to character development and storytelling. Key concepts include characterization, point of view, the use of voice-over, and the importance of subplots, while also discussing historical context in screenwriting practices. The document concludes with a call to foster a more reflective film viewing culture, encouraging a deeper understanding of film narratives.

1. SEMINAR BY
J.K.ANUBHAV,B.sc(Film and Tv Production)

2.  “Art helps to bring out the beauty of Life in
its noblest forms,imparting meaning and
depth to human existence, justifying and
vindicating the purpose for which Life was
evolved.” - Dr.A.P.J.ABDUL KALAM (1931-2015)

8. Death
Life
BEAUTY
ECG –
ALIVE
Confuse Line

10. ◦ Good ultimately triumphs over evil (Westerns, police
thrillers)
◦ Life is basically good and Worth Living (It’s a wonderful
life)
◦ It is sweet and proper to die for Country (Most War Films)
◦ Love Conquers all (Most Romantic Comedies)
◦ True Love is happiness,or happiness is true love (Most
Love Stories)
◦ Action trumps Intellect (Most action films celebrate man of
action , not man of rational thought)
◦ Revenge is sweet (Killing your enemy who has done you
wrong is your right)
◦ The Underdog can win (Rocky,1976 and whole host of
films about reversal of fortune)

11.  Main – Protagonist , Antagonist ,Love interest
 Supporting- Catalyst, Confidant
 Characters who add other dimensions
• The Comic Relief
• The Contrasting Character
 Thematic Charcters
 Minor Characters
 Off screen character

12.  Physical Dimension
 Psychological
 Socio-Cultural
 Aesthetical

13. Anthromorphic(human characteristics)
Ethnic
Costumes & Hairstyle

14. Motivation/Lack
of it
Empathy/indifference
Subtley/aggression
Resilient/
Weak
Love/hate

15. Ethnicity&Identity
Commitment to
values/philosophy/spirituality

16. Aesthetic
Artistic
Tastes Artistic
Preferences

17. Thoughts
Action Feelings
To show, character Dimensions and their Depths this
dimensional chain is very important

18. Actions always Comes first , Dialog has to
Support the Action.
FACTORS DECIDING GOOD
CHARACTERIZATION:
• DRAMATIC NEED
(the engine that powers the story)
• AESTHETICAL NEED

19. Point Of View
Voice Over
Flash Back/Flash
Forward
Intercutting

20.  Nature of Focus on film
 How much we should know ?
 Through whose eyes we see story
 Whether we know only,what main character
knows ?
 Whether we need a broader point of view than
that of Protagonist ?

21.  First Person (Subjective)
Eg: Memento(2000), Presumed Innocent,
Lady in the lake(1947).
 Second Person
Instead of using literary second POV, it uses two
characters POV the Protagonist and Antagonist
Eg: The fugitive , Thani Oruvan (2015)

22. Allows author to tell larger story
Permits authors to show us how
all pieces fit together
An all knowing narrator who
stands back to give us big picture
from all view points
Note : It has less depth & width more

23. o Voice over is any off-screen voice
o It must enhance the scene
Voice over can be
Subjective or Objective

24.  Pulls us into the mood and psyche of the
Protagonist
Eg : The Movie Sunset Bouleyard begins with
the Voice over of dead Man.
o Other examples :
o Michael Clayton
o Forrest Gump (1994)
o Shawshank Redemption(1993)

25.  The voice comes from relatively unimportant
or anonymus character
 The story teller does not reveal the character
are in Subjective Voice over
 In certain film a character tells the story or
leads us into story
Objective Voice-over is less wanted in a
film than subjective voice-over
( A film is supposed to show rather than tell)
Eg : Generally Documentary Films

26. Does Voice over Improve narrative quality
of fiction film ?
Yes, if used
• Discretly
• Irony
• Pathos
• Lost innocence
• Nostalgia

27.  Clear
 Complement the image
 Match character or subject matter
 Be pronounceable or speakable
 Be suitable for target audience

28. Flash Back :
 It shows events that have taken place before ‘present
time’ established in the film
 It can be used to explain or providing background to,
events in the story
 It can be a subjective or objective as a POINT OF VIEW
of a character
Eg : Born identity , Born supremacy
Flash Forward :
 Flash forward is less significant compared to
flashbacks. Now, in new age cinemas it is used as a
creative tool.
Intercutting :
 Bits of little shots from different scenes

29. TRIVIA :
AN ACTION THRILLER IS
GENERALLY PLOT DRIVEN
EG: FAST AND FURIOUS SERIES
A MELODRAMA FAMILY GENRE
IS GENERALLY CHARACTER
DRIVEN
EG: ANANDAM (2001)

30.  It is normally relationship of stories of different
themes that interwave with main plot
 It can be a love story linked to main story
Structure Of Subplot :
 Like the main plot, subplot too have a
beginning,middle and an end.
 Subplots compares and contrasts with the main
character

32.  Adds dimensionality to script (without which
script will be flat and too linear)
 Supports story’s theme
 Pushes sub plot, often changing direction
 Reveals characters goals, dreams, desires
 Shows transformation of character
 Reveals beat by beat development of
characters identity, self esteem and self
confidence.

33. A GOOD FILM HAS 3 TO 7 SUBPLOTS
a) Supports Theme
b) Character
c) Makes story interesting
Normally, avoid subplot in act 1

34. In hollywood film making , final script has
100-120 pages with
 ACT 1 – 25 TO 35 Pages
 ACT 2 – 50 TO 60 Pages
 ACT 3 – 25 TO 30 Pages
1 A4 PAGE = 1 MINUTE SCREEN TIME ( 12.1 FONT)

35.  More information about
characters
 Characters back story
 Information about antagonist
 Motivation of protagonist
 The central conflict

36. ACT 1 :
i. Where and When?
ii. Who are important characters?
iii. Sub-conscious Theme
iv. Twist
ACT 2 : (making story unique) (action oriented)
Advancing the story with strong action that has direction
Develop ‘conflict’ by exploring theme
Building relationship before
 Rising action
 complication
 Obstacles

37.  Twist
 Reversal
 Push to social issue
 Second turning point
Understanding ACT 2 :
 Raises central question and makes us
wonder about answer
 Again demands hard decision or
commitment from on the part of main
character
 Takes audience into new arena, where
characters action may be seen with new
focus

39. ACT 3
 Shows CONSEQUENCES of act 2
 Close subplot by resolving into main plot
 Climax
• Resolution of original conflict
• Sometimes through the agency of a character
from subplot
What does Central Question do ?
Central question operates subconsciously
 But keeps coming throughout story
 With each turning point, with each step
back,with each step forward

41.  Intensity the problem
 Create an ultimate reversal or a set
back in predicament of main character
 Brain about a resolution of final set
back and the whole story
 Create triumph of hero, protagonist or
main character and downfall of
antagonist or villan

42.  Storyline (plot)
 Characters
 The underlying theme
 Dialogue
 Images
Eg : cuilinary images in Kaaka muttai
TRIVIA : CHARACTER NAMES AND CAMERA
ANGLES ARE WRITTEN IN UPPER CASE

43.  Theme and its relevance
 Plot & content
 Characters & experience
 History and the period
 Geography/location
 Culture manners and customs
 Language dialect

44.  Storyline and narration
 Artistic collobaration
 Casting tool
 Planning: financial , organisation & time
Screenplay can be taught as an craft using
 Concepts
 Methods
 Procedures
 Techniques & devices

45. DETAILS ABOUT
 All the scenes
 Dialogues ( must be like a music on a song)
 Actions
May also about
 Camera position
 Camera angle
 Camera size
As a tool for
sets, props, costumes, locations and roles
to be cast

46.  What need?
 Who?
 Why?
 How?
 What?
 Which medium?
Background research and investigation
Developing a creating concept
Pitching or verbal presentation
Concept outline
Treatment
First draft
Revision
Final draft

47.  DURING 1909-1929 Hollywood age of
Commercial cinema, scripting became very vital.
They developed a style for themselves for pre
planning and cutting out budget and saving
time.Till then,Directors,edited their films
themselves
 It was like a assembly chain in car making. The
Process was very auxilary.

48.  Length
 Point of view
 Narrative tense & screen time
 Setting and period
 Dialogue Versus Action
 Acting
Breakdown of Script Formats :
 Storyboard
 Miniscripts for video,audio,animation&text
 Branching,flowchart.

49.  A story is driven by conflict
CONFLICT

50.  Create an observer
 Create a Montage
 Use audio to add value to the scene
Audio Script has
• Sfx
• Music
• Fade in & out
• Fade up & under

51.  Italian Realism (Phase 1 – 1945 to 1942)
(Phase 2- 1953 to 1978)
 Italian Neo-noir
 Fictional realism – hollywood
 French Impressionism and New-wave
 German Expressionism
 Russia Agitprop (Agitation and
Propaganda),used as a revolutionary tool

52. Subjective World Objective World
Super-Ego Ego
(Reality Principle) (Psycophysiological)
Thesis Anti-Thesis
Synthesis

63. Player(Actors)
Setting
(Props &Costumes)
Action
(Movements,Axis,Acting,Actor
Movement)

64. “Lets Promote a more Reflective Film
Viewing Culture”

65. Hope it Changes , Your vision on film
Watching, perception & Perspective