MX3083 [Type here] Film Appreciation

Unit -1

• A: The Component of Films

• A-1: The material and equipment

• A-2: The story, screenplay and script

• A-3: The actors, crew members, and the director

• A-4: The process of film making… structure of a film

Film
• A visual art that uses moving images to tell stories, communicate ideas, and evoke feelings,
perceptions, and atmosphere. It's also known as a movie, motion picture, or picture.

Film appreciation
• Film appreciation is the art of understanding and analyzing films. It is the ability to recognize
the different elements that make up a movie and appreciate the work that goes into
creating it

1.1 Materials and equipment

• Film Stock: For traditional film-based filmmaking, various types of film stock are used, such
as 35mm, 16mm, and 70mm film. These materials capture the images and need to be
processed and developed.

Camera
• Different types of cameras are used, including digital cameras (DSLRs, mirrorless, cinema
cameras) and film cameras.

• Digital Cameras: Modern film production often uses high-definition digital cameras such as
those from RED, ARRI, Canon, or Sony.

• Film Cameras: For traditional film production, cameras like the ARRI 435, Panavision Panaflex,
and others are used

Lenses
• Prime Lenses: Fixed focal length lenses offering high optical quality.

• Zoom Lenses: Lenses with variable focal lengths for flexibility in framing shots.

• Specialty Lenses: Such as wide-angle, telephoto, macro, and fisheye lenses.

Lighting Equipment
• Includes different types of lights LED panels, tungsten lights, HMIsand modifiers such as
softboxes, reflectors

• Key Lights: Main light sources that illuminate the subject.

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• Fill Lights: Lights used to reduce shadows and add detail.

• Back Lights: Lights used to create separation between the subject and background.

• Softboxes, Diffusers, and Reflectors: Tools to modify and control light.

Audio Euipment
• Microphones: Shotgun mics, lavalier mics, and handheld mics for capturing dialogue and
ambient sound.

• Boom Poles: To position microphones close to the action without being in the frame.

• Audio Recorders: For capturing and managing sound during production

Grip and Rigging Equipment

• Tripods and Monopods: For stable camera support.

• Dollies and Track Systems: For smooth, moving shots.

• Gimbals and Steadicams: Stabilization devices for handheld or dynamic shots.

• Jibs and Cranes: For vertical and sweeping camera movements.

Digital Materials
• Digital Film Formats: Digital cameras capture footage in various formats, including RAW,
ProRes, and MP4.

• Editing Software: Programs like Adobe Premiere Pro, Final Cut Pro, and Avid Media
Composer are used for cutting and assembling footage.

• Visual Effects (VFX) Software: Tools like Adobe After Effects, Nuke, and Blender are used for
creating visual effects and compositing.

• Sound Editing Software: Software like Pro Tools, Adobe Audition, and Audacity are used for
audio editing and mixing.

• Color Grading Software: Tools like DaVinci Resolve and Adobe SpeedGrade are used for
adjusting the color and tone of the footage.

• Animation Software: For animated films, software such as Maya, Toon Boom, and Cinema
4D are used

1.2 The Story, The screenplay and the Script

Story
• Definition: The story is the broad narrative idea or concept from which a film is developed. It
includes the overall plot, themes, and characters, and provides the foundation for the
screenplay and script.

• Components:
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• Plot: The sequence of events that make up the narrative.

• Characters: The individuals who drive the story forward.

• Setting: The time and place where the story occurs.

• Themes: The underlying messages or ideas explored in the story

The key elements of story in film that help create a compelling

narrative:

1. Characters

• Protagonist: The main character who drives the story and faces challenges.
• Antagonist: The character or force opposing the protagonist, creating conflict.
• Supporting Characters: Enhance the story and help develop the protagonist’s
journey.

2. Setting

• Time and Place: Establishes the context of the story. This can range from a specific
historical period to an imaginative world.
• Atmosphere: The emotional tone set by the environment, influencing how the
audience feels.

3. Plot

• Structure: Typically follows a three-act structure (setup, confrontation, resolution).

• Conflict: The central challenge or problem that drives the narrative, which can be
external (e.g., a villain) or internal (e.g., a personal struggle).

4. Theme

• Underlying Message: The central idea or moral of the story. Themes can explore
human experiences, social issues, or emotional truths.

5. Dialogue

• Character Interaction: How characters communicate can reveal their personalities

and advance the plot.
• Subtext: What’s left unsaid can add depth and tension to conversations.

6. Conflict

• Types of Conflict: Internal (within a character) and external (between characters or

against external forces) create tension and drive the plot forward.

7. Tone
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• Emotional Quality: The overall mood of the film, whether it’s comedic, dramatic,
dark, or hopeful, affects how the audience perceives the story.

8. Pacing

• Rhythm of the Narrative: The speed at which the story unfolds. Good pacing keeps
the audience engaged, balancing action with quieter moments.

9. Visual Storytelling

• Cinematography: Camera angles, movement, and shot composition contribute to

how the story is visually presented.
• Symbolism: Use of imagery or objects to represent deeper meanings or themes.

10. Resolution

• Climax and Denouement: The climax is the peak of tension, followed by the
resolution, where conflicts are resolved, and characters’ journeys conclude.

11. Character Arc

• Development: Characters should evolve throughout the story, often learning a lesson
or changing in response to their experiences.

Screenplay
• Definition: The screenplay is a detailed written document that outlines how the story will be
presented in the film. It includes descriptions of scenes, characters, dialogue, and actions,
and serves as a blueprint for the production.

• Components:

• Scene Headings: Indicate the location and time of day for each scene (e.g., INT.
COFFEE SHOP - DAY).

• Action Descriptions: Describe what is happening visually in each scene.

• Dialogue: The spoken words of the characters.

• Character Names: Indicate who is speaking or acting in the scene.

• Parentheticals: Brief instructions for how lines should be delivered (e.g., (angrily)).

• Transitions: Directions for moving from one scene to another (e.g., CUT TO,
DISSOLVE TO).

Script
• Definition: Often used interchangeably with "screenplay," the script refers to the final
version of the screenplay used during filming. It can also encompass shooting scripts, which
include additional details for production purposes.
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• Types:

• Shooting Script: Includes more detailed information for the production team, such
as camera angles, shot types, and sometimes additional notes on staging and props.

• Final Script: The completed and approved version of the screenplay that reflects all
revisions and is used as the basis for production.

Process
• Story Development: The initial idea is fleshed out, often involving brainstorming, outlining,
and character development.

• Screenplay Writing: The story is translated into a structured screenplay format. This stage
often involves multiple drafts and revisions.

• Script Finalization: The screenplay is refined into a final script that includes all necessary
details for filming. This version is used during the production phase.

1.3 The actors, crew members, and the director

Actor
• An actor or actress is a person who portrays a character in a production.

• Four key types of actors

• Personality Actors-who use their own personality to bring life to a character

• Creative Actors- who go against their own personality

• Chameleon Actors-who can play a wide variety of unrelated roles

• Nonprofessional Actors- who add realism to stories

Crew members
The industry divides crew members into two categories:
• above the line
• below the line.

Above the line

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Above the line people are those with the highest level of power, the ones who have
authority over the production. They include principals in the production company,
producers, writers, the director, and the principal talent (actors or stars). Needless to say,
they earn the most money.

Below the line

Below the line workers are everyone else in the production crew, generally divided by
profession into departments. Their compensation and working conditions are generally
governed by union contracts.

Pre-Production crew members

Preproduction refers to the phase of filmmaking before the start of principal photography. It
starts once someone—a studio, a production company, a group of investors gives a green
light to a script or pitch to go into production, meaning they agree to pay for it.

• Story Editor – The story editor supervises several story analysts who work for the studios. The
analysts read screenplays, books and other literary efforts looking for potential movies. The analyst
then writes “coverage” (a synopsis) of the material. The story editor reviews the coverage and
passes on promising prospects to the studio bosses for possible development into a motion
picture.
• Writer – The term “Written By” in the credits is a Writers Guild of America designation meaning
“Original Story and Screenplay By.” The writer creates and shapes an original story, or adapts a
book, play or other work for use on the big screen. A script may go through many writers, so the
Writer’s Guild of America must often determine who gets screen credit as the Writer.
• Dialogue Coach – The dialogue coach helps actors learn their lines and master accents and
dialects that are necessary for their roles.
• Location Manager – The location manager reads the script, decides what locations are necessary
for the film, then scouts for them. The location manager visits possible locations and takes pictures
to help the director find the best setting. After locations are chosen, the location manager acquires
all the permits and permissions necessary for filming.
• Set Designer – The set designer takes direction from the art director about the look of the set,
and then plans its technical construction.
• Art Director – The art director, or production designer, designs and supervises the construction
of sets for a movie. This person needs to be well-versed in a variety of art and design styles,
including architecture and interior design. He or she works with the cinematographer to achieve
the right look for the production.
• Costume Designer – The costume designer creates all the costumes worn by the cast on a
production. This person contributes to the overall look of the film, as well as the style and
interpretation of the film’s characters.

Production Crew Members

Principal photography is the phase when everyone is on set shooting the movie.
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• Unit Production Manager – The unit production manager (U.P.M.) reports the daily financial
operation of a production to the production manager. Sometimes the U.P.M. will scout for
locations and help the production manager with overall planning.
• Line Producer – The line producer supervises the movie’s budget. This includes unique expenses
like a star’s salary as well as daily costs like equipment rentals. The production manager reports
his or her expenses and needs to the line producer.
• Production Manager – The production manager (P.M.) makes business deals with the crew and
arranges for the production’s technical needs. This includes everything from obtaining the right
technical equipment to renting accommodations for actors and crew.
• Director – The director is responsible for all creative aspects of a movie. The director usually
helps hire actors, decides on locations and plans the shots before filming begins. During filming
the director oversees the actors and crew, sets up shots and keeps the movie on schedule and on
budget. The director is usually hired by a producer, unless he or she is also producing the film.
• Assistant Director – The assistant director (A.D., or First A.D. in larger productions) works to
make the director more efficient. The A.D. plans a shooting schedule by breaking the script into
sections that can be filmed in a single day and in the most efficient order. During filming the A.D.
manages the set, helps line up shots for the director, calls for quiet on the set and coordinates the
extras. The assistant director is often a member of the Directors’ Guild of America.
• Second Assistant Director – The second assistant director (second A.D.) is a liaison between the
production manager and the first assistant director. The second A.D. usually works with the cast
and crew and handles paperwork, including call sheets (who needs to be on the set and when),
actors’ time sheets and production reports. This person also helps the First A.D. place extras and
control crowds.
• Continuity Person – The continuity person tries to prevent embarrassing gaffes in the final film,
such as an actor wearing a hat that mysteriously disappears in one shot then reappears in another.
The continuity person logs how many times a scene was shot, how long the shot lasted, which
actors were in the scene, where they were standing and any other intricate details — like that
disappearing hat!
• Cinematographer – The cinematographer, or director of photography (D.P.), helps create the
look of a movie. The D.P. directs the lighting for each scene, helps frame shots, chooses lenses,
selects film stock and ensures that the visual look of the film conforms to the director’s vision. The
cinematographer usually does not operate the camera on set (this is the duty of the camera
operator).
• Gaffer – The gaffer is the chief electrician on the set, and is responsible for lighting the set
according to the instructions of the cinematographer.
• Camera Operator – The camera operator is a member of the camera crew and runs the camera
as instructed by the director and the cinematographer. The camera operator is responsible for
keeping the action in frame, and responding quickly to the action as it unfolds.
• Assistant Cameraman – Often there is a first and second assistant cameraman. The first assistant
cameraman is generally responsible for the maintenance of the camera. The first assistant
cameraman also changes lenses, maintains focus during shots, marks the spots where actors will
stand and measures the distance between the camera and the subject matter. The second
assistant cameraman fills out camera reports and is often responsible for loading and unloading
camera magazines, which contain the film. (Also see film loader.)
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• Film Loader – The film loader is a member of the camera crew in charge of loading and unloading
the camera’s film magazines. The film loader also keeps the loading room in good, clean condition.
• Steadicam Operator – A Steadicam is a body frame that helps the Steadicam operator keep a
hand-held camera steady. This allows the Steadicam operator to follow the action without the
jerky movement seen in normal hand-held cameras. Steadicam operators need special training
and require much strength and energy.
• Production Sound Mixer – The production sound mixer (or recordist) records sound during
filming. This person is also responsible for mixing the various soundtracks into the film’s composite
soundtrack, which is then put onto the film with either a magnetic or optical stripe.
• Boom Operator – The boom operator is a sound crew member who handles the microphone
boom, a long pole that holds the microphone near the action but out of frame, allowing the
microphone to follow the actors as they move.
• Key Grip – The key grip is the chief grip on the set. Grips create shadow effects with lights and
operate camera cranes, dollies and platforms as directed by the cinematographer.
• Dolly Grip – The dolly grip places and moves the dolly track, then pushes and pulls the dolly
along that track. The dolly is a cart that the camera and sometimes its crew sit on. It allows the
camera to move smoothly from place to place during a shot.
• Best Boy – There are actually two separate best boy positions — the best boy/electric and the
best boy/grip — who are second in command to the gaffer and to the key grip. The best boy/grip
is in charge of the rest of the grips and grip equipment. The best boy/electric is in charge of the
rest of the electricians and the electrical equipment.
Stunt Coordinator – The stunt coordinator lines up professional stunt people to take the risks that
make the movies so exciting. The stunt coordinator makes sure that all safety regulations are
followed and that all safety equipment is on the set and ready for action!
• Visual Effects Director – The visual effects director’s job varies according to the needs of the
production. Sometimes the visual effects director helps with effects on the set. But he or she could
also be called upon to supervise separate teams of effects technicians working away from the set.
• FX Coordinator – FX is film shorthand for special effects. The job of the FX coordinator differs
from film to film. Special effects range from complicated computer animation to helping Superman
fly to simple on-set logistics like making a shower work.
• Property Master – The property master finds, maintains and places on the set all essential props
for a scene. A prop is a moveable item that is essential to a scene.
• Leadman – The leadman answers to the set designer and heads the swing gang (the people who
set up and take down the set) and the set dressing department.
• Set Dresser – The set dresser is responsible for everything on a set except props that are
essential to the scene. The set dresser selects items like drapes, artwork, bed linens, dishes and
anything else, to make the set a realistic environment.
• Costumer – The costumer, or wardrobe person, takes care of the costumes on the set, keeping
them in good, clean condition, and making sure the right actor gets the right costume.
• Make-up Artist – The make-up artist is usually a licensed professional who applies any make-up
to an actor above the breastbone to the top of the head and from the tips of the fingers to the
elbow. (Also see body make-up artist.)
• Body Make-up Artist – Union rules state that the body make-up artist apply any make-up below
the actor’s breastbone, or above the elbow (Also see make-up artist).
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• Hairdresser – The hairdresser is licensed to cut, color and style the hair of actors in a production.
He or she also styles and cuts wigs when necessary. Usually the hairdresser provides all the
necessary equipment and rents it to the production on a weekly basis.
• Production Assistant – Often called a gofer or a runner on the set, the production assistant (P.A.)
performs small but essential tasks for the cast and crew.
• Production Office Coordinator – The production office coordinator (P.O.C.) handles the
production’s office duties and stays behind when a production goes on location. He or she
coordinates the crew, makes sure paperwork gets done and answers the phone. The P.O.C. also
puts together new versions of the script as changes are made.
• Unit Publicist – The unit publicist makes sure the media are aware of a production by sending
out press releases, arranging for interviews of cast and crew, setting up on-set visits and organizing
media kits, which include publicity pictures, video and audio clips and plot summaries.
• Second Unit Director – The second unit director heads the second unit — a separate production
crew that shoots sequences not involving the main actors. These can include background shots at
remote locations, shots used for special effects and scenes that are not essential to the plot.
• Production Caterer – The production caterer provides all the meals for a production, especially
for on-location shoots. The caterer makes sure that the food provided meets the needs of the cast,
often including special items for the star of the movie.
• Craft Services – The people responsible for coffee, beverages and snacks on the set. They also
perform various small chores.
• Transportation Coordinator – The transportation coordinator makes sure that actors, crew and
equipment have some way of getting to the location shoot. He or she coordinates the use of
everything from limos to semis.
• Background – Background is the term for the non-speaking extras seen in the background of a
scene.
• Day Player – A day player is an actor hired on a daily basis. This actor only has a few lines or
scenes. The day player must be notified that they are finished by the end of the day; otherwise
they are automatically called back for another day of work.

Post Production crew

This is the final stage of filmmaking, when footage from principal photography is edited, and sound,
music, and visual effects are added.

• Post-Production Supervisor – The post-production supervisor oversees the finishing of a film

once shooting ends. He or she attends editing sessions, maintains quality control, and coordinates
audio mixing, computer graphics, and all other technical needs.
• Editor – The editor works with the director in editing the film. The director has the primary
responsibility for editing decisions, but the editor often has significant input in the creative
decisions involved in putting together a final cut of a movie. The editor often starts work while the
film is still being shot, by assembling preliminary cuts from the daily footage. Increasingly, editors
work on computerized editing consoles without touching the actual film.
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• Colour Timer – The colour timer works with the cinematographer. He or she works in the lab to
correct and balance the colour of the film to the director’s wishes for the look of the scene.
• Negative Cutter – The negative cutter takes the negative of a movie and conforms, or matches, it
to the final cut of the film as decided by the director, editor, producer, studio and anyone else who
may be involved. Final prints of the film are made from this conformed negative.
• Foley Artist – The Foley artist creates sounds that cannot be properly recorded during the shoot.
This often includes creating footsteps, thunder, creaking doors and even the sound of punches
during a barroom brawl.
• ADR Editor – ADR is an acronym for automatic dialogue replacement. In this process the actors
are called back during the post-production process to re-record dialogue that wasn’t recorded
properly during the shoot. The editor supervises this process and matches the newly recorded
lines to the actor’s mouth on film.
• Music Mixer – The music mixer is part of the team that prepares the final soundtrack for a
movie. The music mixer carefully balances and mixes the film’s musical score to integrate with the
dialogue.
• Matte Artist – The matte artist is a member of the special effects department who helps create
locations that never existed. He or she constructs backgrounds (either with traditional artists’ tools
or, increasingly, with computers) that integrate with the live action filmed on a set. A good example
of a matte painting is the yellow brick road in “The Wizard of Oz.”

1.4 The process of film making

Filmmaking is a complex process that requires the contribution of several

talented individuals. The filmmaking process is the step-wise approach
that movie producers and production houses follow to create a movie.
The goal of filmmaking is to communicate a story or message through the
visual medium through the most efficient use of resources and time. This
process consists of several distinct stages, which include writing, casting,
shooting, editing and screening. Filmmaking requirements and stages can
vary depending on the objective of the project and the process adopted
by the producer or director. This process provides a rough framework for
the production team to follow a systematic filmmaking operation.
7 Stages of The Filmmaking Process
The seven stages of the filmmaking process that movie producers and directors follow are:

1. Development
The development stage of a film is when a movie producer takes an abstract idea of a story or
concept and starts adding more technical and creative details. This phase of the production process
includes building the story's core idea, writing the script's first draft and calculating the project's
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expected expenditure and logistics. Depending on whether the producer is making an independent
film or a big-budget feature film, the development phase can last anywhere from a few months to a
few years.

This stage broadly includes the creation of a script with a coherent progression. After approval from
all parties involved, the producer work with the creative team and the production crew to create a
realistic timeline for the project. It is important to spend adequate time at this stage so that the
producer can revise the script, forecast the necessary expenditure and logistics and hire a qualified
team. Otherwise, the producer might choose unfit professionals or miscalculate the expected
expenditure of the film.

2. Pre-production
During the next stage, the director and the production team work together to finalise different
aspects of the shoot. The team usually meets at the production office to work on critical pre-
production processes such as finding and finalising the shooting location, finishing the script and
conducting rehearsals with actors. Contracts related to the music, costumes, make-up, props and set
designs get finalised at this stage. Other crucial creative professionals, such as the director of
photography, assistant director, stunt director, choreographer and music producers, also get hired at
this stage.

Once the entire team is ready, the director conducts rehearsals and workshops to prepare for the
principal shooting. Technicians from the lighting, sound and set design departments also work with
the director to understand what they are required to accomplish. The director's team creates a
storyboard at this stage to visualise each frame of the movie and create a shooting schedule. Before
the shooting commences, all professionals involved in the film regularly interact by collaborating and
understanding each other's vision and working style.

3. Production
Once the schedule, locations, crew and actors are ready, the film's production process begins.
Depending on the length of the movie, the production can take place in one continuous schedule or
on different schedules at different locations. Additional crew members to perform technical duties,
such as managing the logistics and transportation, also get hired during this stage. In most projects,
rehearsals may take place to save time, and the crew usually works with little breaks to shoot as
many scenes as possible.

During this stage, the production coordinator, assistant director and the director of photography
play crucial roles. The continuity coordinator ensures that the visual frames remain continuous, even
at different shooting times and locations. The production stage requires significant collaboration and
teamwork between different technical, creative and direction team members. Once the director is
satisfied with the production preparation, the crew begins to prepare for the actual shooting and
photography.

4. Photography
Film production photography is the phase where the actual shooting of the movie takes place. This
can be the most challenging and expensive part of the process, as working in external locations can
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be unpredictable. Most shooting schedules have fixed days, and time gets allocated judiciously to
ensure maximum efficiency. The director is responsible for ensuring that the team receives usable
footage and that the shooting gets finished within the stipulated time and budget.

The principal photography stage includes almost the entire crew of the production team directly,
barring the editor and music producers. During this stage, the investments made by the producers
get utilised in the form of travel, outdoor shooting, hiring production crews, producing props and
renting shooting equipment such as lights. The director, director of photography, cameraman, audio
technicians and light technicians, play a crucial role in this stage of the process.

5. Wrap
The period immediately following the last shot is a 'wrap' in filmmaking. This is when the cameras
get turned off, and the actors and crew leave the set. During this period, everything gets taken apart
and cleared up. Each piece of equipment gets returned to the suppliers, including the props and
technical devices. It is essential to check if all the equipment is working well before returning them
to the renters or suppliers.

Most big-budget film projects have a tradition of hosting a ‘wrap party'. At the wrap party, the
actors, supporting cast and key crew members like the director, assistant directors, producers, and
designers gather to celebrate the completion of the shooting phase of the process. Generally, people
who work behind the camera are the only ones involved in the steps after a film wraps. These
include editors, film colourists who work on correction and grading, and the sound team.
Sometimes, actors may also be a part of the post-wrap section of the film.

6. Post-production
There are two main players in the post-production process: the editor and the music composer. The
editor plays the role of an organiser, reviewing the uncut footage to rearrange it into a cohesive film
for viewers to watch. Each version of the movie they prepare is a 'cut'. They work with the director
to decide which scenes to include in the final cut and in what order they may appear. Depending on
the film's release date, the editor may work under a strict deadline.

Other crucial post-production processes include adding visual effects and sound design to the movie.
The movie's music composer works with the director to create the theme for the entire film, along
with recording songs, if required. Big-budget movies usually have a separate budget for music
production and promotion, as the music plays an integral part in setting the tone and promoting the
movie. In some cases, the actors may reshoot some scenes of the film or provide additional voice-
over for dubbing purposes.

7. Distribution
In the final stage of the process, producers sell the movie to distributors. Once a distributor
purchases the rights to screen a movie, they promote it to get the maximum number of people to
view it and recoup their investment. Depending on the budget and reputation of the actors and
director, the box office collections can influence the price of resale values, such as the television
broadcast rights and the distribution through over-the-the (OTT) platforms.

The actors typically work hard to promote the movie and may host interactions with the press and
public before the release of the movie. Production houses use innovative methods to promote their
movies, including submitting the movie to film festivals and launching short promotional trailers on
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leading video platforms and television channels. Depending on the number of theatres where the
movie gets released, producers and actors may organise local, national or international events,
organise multiple paid and unpaid screenings and invite movie critics to review the film. The final
box office collections determine the commercial success or failure of the movie.

The Structure of Film

Act Structure: Understanding the Basics

One of the most common story structures is the act-based structure. This structure divides the story
into multiple acts, with each act having distinct beginnings and endings.

Two-Act Structure
Conflict, Resolution

The two-act structure is most commonly used in short films, television sitcoms, and the theater. In
this type of structure, the first act introduces the characters and establishes the conflict, while the
second act shows how the characters attempt to resolve that conflict. This approach is often used to
create comedy, as the audience can easily understand the conflict and anticipate how it will be
resolved.

Three-Act Structure
Beginning, Middle, End

The three-act structure is a classic framework for storytelling, and it’s widely used in film due to its
simplicity and effectiveness. In essence, this structure divides the narrative into three parts: the
beginning (Act I), the middle (Act II), and the end (Act III).

In Act I, or “the setup,” we’re introduced to the main characters, their world, and the central conflict
that will drive the story forward. This act typically ends with a turning point or an inciting incident
that sets things into motion.

For example, in The Wizard of Oz, Dorothy being swept away by a tornado, marks the end of Act I.
Next comes Act II, or “the confrontation,” where characters encounter obstacles as they try to
resolve their problems or achieve particular goals—a process that builds tension throughout this
part of the story.

In Star Wars: A New Hope, Act II begins once Luke Skywalker joins Obi-Wan Kenobi on his mission to
defeat Darth Vader. Finally, we reach Act III (“the resolution”), where all loose ends are tied up;
conflicts come to an intense climax before being resolved, and our heroes—often changed by their
experiences—reach their ultimate conclusions.

Five-Act Structure
Exposition, Rising Action, Climax, Falling Action, Resolution

The Five-Act Structure is another popular narrative structure used in film, breaking a story into five
distinct parts: Exposition, Rising Action, Climax, Falling Action, and Resolution.

The exposition introduces the main characters and their world while setting up the central conflict
that will drive the plot forward. The rising action section of a movie showcases how things are
getting complicated for the protagonists by introducing various obstacles or creating tension.
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The climax section is where everything comes to a head; it’s often regarded as the most exciting part
of any story because this is when we see who wins and at what cost. After that follows falling action
– which can either be subtle or explosive – where consequences of all actions become known to
both characters and audiences alike.

Seven-Act Structure:
Introduction, Rising Action, Turning Point, Climax, Falling Action, Final Turning Point, Resolution

The seven-act structure is a less commonly used story structure in film, but it can provide a different
approach to storytelling. In this structure, the story is divided into seven distinct acts: Introduction,
Rising Action, Turning Point, Climax, Falling Action, Final Turning Point, and Resolution.

The introduction act sets up the characters and their world, while the rising action builds up tension
with conflicts and complications that lead to the turning point where everything changes for the
protagonist(s).

The climax presents the most intense conflict or challenges for them. It is followed by falling action
that shows how they deal with the consequences of actions taken during climax before reaching
another turning point, which prepares us for resolution.

The Seven Act Structure has been implemented in films such as David Fincher’s “Gone Girl,” Quentin
Tarantino’s “Kill Bill” trilogy, and Pixar’s “Up.” This format allows creative

COMMON EXAMPLES OF NARRATIVE STRUCTURE INCLUDE:

LINEAR NARRATIVE

Presenting the story in order of events how they occur. This is your typical beginning, middle, and
end, three-part or three-act structure.

NON-LINEAR NARRATIVE

Flashbacks, Flash-forwards, Multiple Timelines

Presenting your story events out of order, often using flashbacks or other means of bouncing back in
time or forward to deliver the story.

QUEST NARRATIVE

Telling the story in a way such that the protagonist works constantly at achieving a goal which is all
consuming and along the way seemingly impossible obstacles are faced.

VIEWPOINT NARRATIVE

Presenting the story based on points of view or subjective personal experiences that are exhibited
by the main character or other characters of the story. Usually first-person or third-person
narratives.