Schue T Zen Hofer

How to analyze a Film Script Sara Schützenhofer Bsc dm101549
How to analyze a Film Script
Sara Schützenhofer, BSc dm101549
Supervising Tutor: Jörg A. Eggers
Research Question: What are the criteria for a fabulous and efficient film script?
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INDEX
1. Introduction 3
1.2. Basic Terms 3
2. Progression and Structures 5
2.1. Progression 5
2.2. Film Structure Theory and Models 5
2.2.1. Aristotle 5
2.2.2. Gustav Freytag 6
2.2.3. Syd Field 7
2.2.4. Joseph Campbell 10
2.3. Television Structure 12
3. Characters 13
3.1. Character Archetypes 13
4. Given Circumstances 16
4.1. Time 16
4.2. Place 17
4.3. Society 17
4.4. Economics 19
4.5. Politics and Law 19
5. Background Story 20
6. External and Internal Action 21
7. Conclusion 21
8. List of References 22
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How to analyze a Film Script
1.Introduction
In my exchange semester in California, USA at the San Diego State University I attended a
course called Film, TV and Media Criticism. The Professor teaching was Stuart Voytila, a
scriptwriter, producer, actor and author of two books on storytelling. Stuart's lessons were
very inspiring in terms of storytelling, structure and character design. He also taught us to look
on all different types of media texts to apply the theories we learned in class. This course will
be the base for my paper about script analysis.
I will apply theories about storytelling and structure on film and television scrips. I decided to
extend my research also on television as it's very similar but at the same time so different.
And if you have to deal with scripts in your profession most of the time you will have to deal
with both of them.
1.2. Basic Terms [1]

Before jumping right into the matter of script writing I want to introduce the basic terms on
storytelling. There is a certain language used to talk about scripts and it's important to
understand them.
• Explicit: That's the image presented on the surface telling the viewer what the
scene/image/story is about.
• Implicit: This describes what's lying under the surface, it means the association
each individual viewer has based on the explicit story.
• Story: The story contains all narrative events explicitly presented on screen and all
implicit events.
• Narrative: The narrative is the way how the story is been told. It's the selected
arrangement of the story events in a cause-and-effect-sequence order to achieve
the biggest impact.
• Plot: The Narrative
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• Main plot: The main plot is the primary action of the narrative. The main plot is
established in the beginning and is solved in the end. In television the main plot is
called A-Story.
• Sub plot: The sub plot is the subordinate sequence or action. There can be more
then one sub plot. In television the sub plots are called B-Story, C-Story and so on.
• Diegesis: The diegesis is the world of the film story.
• Diegetic sound: atmosphere and original sound of the scene (source of sound is
visible or gets explained)
• Non-diegetic sound: music, sound effects (there is no actual cause for the sound)
• Blow: comic term to describe the final hard hitting joke of a scene/act/episode
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2. Progression and Structure

The first step to analyze a script is to break it down to its structure. The structure of a story is
like its skeleton. It's giving the story the main shape. There are many different theories in the
script writing world about structure. I will focus on the oldest and most established ones. This
chapter is split up into film and television structure. This is a point where those two types differ
from each other enormously.
2.1. Progression
Scripts are written to create the impression of things moving. This act of getting somewhere
doesn't always mean a chronological but sometimes a psychological one. The feeling of this
motion is created by a dramatist's method of topping the event that happened before. Every
event has to be more dramatic and important than the one before. If this isn't the case the
audience feels uncomfortable and loses interest. We as the viewers are not even satisfied
with maintaining on the same level of action. Forward motion is essential. Also important is
that a plot doesn't always move in the same speed. For this kind of matter it's fundamental to
use a working structure: the topic is introduced and continues to develop to an emotional
climax and after the peak another topic starts to grow.
2.2. Film Structure Theory and Models
2.2.1. Aristotle (384-322 B.C.)
Aristotle was born in Greece as a son of the royal physician

Nichomachus. First he studied medicine but was send to Athen to study
philosophy at Plato's Academy later. It's said that Aristotle wrote over 150
philosophical treatises but just 30 survived. Those are ranging over
different topics as physics, biology, politics and narration. His work
Poetics is the corner stone of storytelling ever since. [3] Picture 1: Aristotle
3 Act Structure by Aristotle

Aristotle wrote that “A satisfying story, tragedy, is the imitation of an action that is complete
and whole and of a certain magnitude". By his definition “a whole is that which has a
beginning, middle and an end". [4]
Based on this point of view he created the first theory of narrative structure. It's nowadays
called the 3 Act Structure and is used in every story being told. The 3 Act Structure is the
base for every other narration theory. No matter if they are split in 3, 8 or 12 parts, they all
have a beginning, a middle and an end.
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Dramatic Structure:
Act I - The Beginning: The beginning follows not anything but something naturally follows
Act II - The Middle: The middle follows something and is followed
Act III - The End: The end follows something and is followed
Unity of Action:
Important is that the cause and effects relationship binds the parts together. And the series of
events are directed towards a single end, the resolution.
2.2.2. Gustav Freytag (1816-1895)

Born in Kreuzburg, Germany Gustav Freytag studied philology and worked as a novelist and
playwright. He studied the classic narration used by the greeks and developed the Dramatic
Pyramid to structure a story. [5]
Picture 2: Freytag's Pyramid
Freytag's Dramatic Pyramid [6]
1. Exposition:
The exposition contains and introduces the background information about characters,
the setting of the story and the basic conflict. This sequence of scenes end with the
inciting incident changing everything.
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2. Inciting Incident:
Something happens to bring the story in motion. It's a life changing event causing the
protagonist to leave his comfort zone.
3. Rising Action:
After the inciting incident the rising action takes the primary conflict to the next level.
Additionally secondary conflicts occur providing complications to drive the story.
4. Climax:
The climax is the top but also turning point of the main action. It's also seen as the
turning of tide for the protagonist's primary conflict.
5. Falling Action:
During the falling action the central conflict moves toward resolution with the
protagonist winning or losing against the antagonist.
6. Resolution:
The resolution is the event that starts untying the main conflict
7. Denoument:
The denoument is the untying of the knot, the catastrophe and its aftermath. In a
comedy the protagonist is usually winning or better off then in the beginning. If it's a
tragedy the protagonist is usually losing something or somebody and is worse off then
when he started.
2.2.3. Syd Field

Sydney Field works as writer, producer, actor and teacher.
His name is one of the names you have to know when it
comes to Hollywood Screenwriting. He helped a lot of
screenwriters in Hollywood to rarefy their work and his 3 Act
Paradigm is the base for nearly every script turned to a
movie nowadays in Hollywood. Some studios insist on his 3
Act structure. CNN gave him the nickname “Guru of all
screenwriters”. He published several books about
screenwriting, the most successful ones are Screenplay, The
Screenwriter's Workbook, and The Screenwriter's Problem
Solver . He taught at Harvard, Stanford, UC Berkeley, UCLA,
USC the AFI. Now he travels the world giving workshops. [7]
Picture 3: Syd Field
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The Syd Field Paradigm

Syd Field introduced this Paradigm in his first book Screenplay in 1979. Since then it became
one of the most important tool of Hollywood scriptwriting. He took the classic Aristotle 3 Act
Structure and modified it for modern film.
Picture 4: The Syd Field Paradigm
Picture 4:
The Paradigm Worksheet shows a linear story cut into 3 Acts: Act I, Act II and Act III. Act I
also known as the Set up takes about the first 20-30 pages of the script.
Act II contains the main action also known as confrontation and covers about the half of the
film and the script. The confrontation starts with Plot Point I, the event setting of the
protagonist to his journey and end with Plot Point II where everything falls apart or resolves.
The story is also divided in two halfes: First Half and Second Half. They are separated by the
Midpoint. A turning point (not as big as Plot Point II) which happens around page 60 of the
script.
Followed by the second half of Act II is Act III also known as Resolution. In this part the
confrontation and the problems are resolved.
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Picture 5: The Syd Field Paradigm on Shawshank Redemption
Picture 5:
This shows the Paradigm Worksheet for The Shawshank Redemption (1994). This movie is
listed as number one movie to see on the IMDB 250 list and is the only movie with the highest
number of 9.2 out of 10 rating by IMDB users. Syd Field uses this movie to explain what good
structure can do for your script.
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2.2.4. Joseph Campbell

Campbell was an mythologist, writer and lecturer from White
Plains, New York in the United States. His best known works
are coming from the field of comparative mythology and
comparative religion. Campbell developed the 'hero's journey'
to exemplify the different stages of a story and its protagonist.
[8] Nearly every story also fits in this structure.
It has a lot of similarities to the other theories I explained
earlier. The hero's journey consists 12 different stages the
hero has to pass in order to fulfill his quest.
Picture 6: Joseph Campbell
The circle of the hero's journey [9]
ACT I: Separation – The ordinary world

The hero get's introduced to the audience, he doesn't seem like a hero at this point. He lives
an ordinary life in his ordinary world. Then something happens to rattle up his world and he
needs to leave his safe place to follow the call to adventure. First he refuses to follow the call
due to self doubts and fear. He meets a person, a mentor, who helps him overcoming his
doubts and fear and after some struggling he decides to take the challenge. When he walks
out of his ordinary life he's crossing the threshold to Act II.
1. Ordinary world
2. Call to adventure (inciting incident)
3. Refusal of the call
4. Meeting with the mentor
5. Crossing of the threshold (plot point I)
ACT II-A: Descent – The special world

As soon as the hero crosses the threshold he enters the special world. He needs to learn the
rules and laws of this world. He will be tested if he's dignified for his quest. He will meet allies
and enemies, sometimes not knowing who's who. During his way towards his quest the hero
will have setbacks and needs to over think his way and adapts to the new rules of the special
world. At the descent he reaches the mid point of the story also knows as Taste of Death. This
doesn't always means the physical death of the hero. It could also be the hero feeling lost and
abandoned. Through his near death experience the hero finally sees what really matters and
what's the real goal of his journey.
6. Tests, Allies, Enemies

7. Approach the inmost case
8. Ordeal (1st crisis, Mid Point, Taste of Death)
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ACT II-B: Initiation – The special world

The hero survives death and overcomes his fear. He earns now his reward (love, power,
honor). After mastering all his challenges it's time for him to return to his ordinary world.
Sometimes the hero refuses to return first as he has seen a bigger scope of the world. Finally
he understands that it's his destiny to return to serve the ordinary world. He sacrifices his own
will for the good of the society. On the road back he has to defeat one last enemy and he's
able to do this because of the lessons he learned in the special world during his quest.
9. Reward
10. Road Back (2nd crisis, plot point II, final crisis)
ACT III: Return – The ordinary world

The resurrection happens on the road back and is the actual last fight, he faces death again.
The hero has to poof what he has learned and that he is worthy the trust of the ordinary world.
After the climax the hero finally returns to the ordinary world with the elixir he was send for.
The elixir doesn't have to be a physical object it can also be knowledge or wisdom. With that
elixir the hero is now able to help the ordinary world.
11. Resurrection (Climax)

12. Return with the Elixir Picture 7: The circle of the hero's journey
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2.3. Television Structure
For Television series the structure is different to movies due to length of the show and the fact
that an episode follows an episode and is followed by another episode. Except the pilot and
the season finale. This means the characters don't have to be introduced in every single
episode. Because of the limited time it's also not possible to have a whole circle of travel like
in the hero's journey. It's possible to apply some of the movie structures on TV shows as well
but they need to be adjusted and cut down to the most important points.
Warner Bros. Sitcom Paradigm [10]

Warner Bros. created a model for breaking down sitcoms which is standardly used in TV
business. It is consisting of 2 Acts and is using a simple story to explain it's step.
ACT I:
1. Our character wants to climb a tree (the goal)
2. The protagonist confronts a hive (1st obstacle)
3. He needs to flee but he can't, he is stuck on the tree (things get worse)
ACT II:
1. The character gets stung by a bee, he reacts allergic and while trying to flee he
moves to a branch where he is stuck (things are getting worse before getting better)
2. A rainstorm takes care of the bees but the protagonist is still stuck and drenched
(twist and turns to find a solution)
3. Somehow he figures out a way to get off the tree (resolution)
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3. Characters
The base of a good story is of course a character which allows the audience to emphasize
and identify with the protagonist. During his journey the hero will meet many different
characters, supporting or counteractive.
3.1. Character Archetypes [11]

Joseph Campbell developed some archetypes of those characters in his book The Hero with
a Thousand Faces. An Archetype is a model something is based on, a recurring pattern of a
characters behavior or actions. Joseph Campbell's archetypes are rooting in myths and
legends used in many cultures but especially by the Greeks. Every important character can
be placed in one of the archetypes. Archetypes can be people, animals or objects, they can
be external (action) or internal (belief, conscience) and they can be positive or negative.
• The Hero
The hero, most of the time it will be the protagonist of the story, is willing to serve and
to sacrifice. His essence is not about bravery or nobility but the will to sacrifice his life
for the bigger cause. The mythic hero must pay a price to reach his goal. Depending
on the genre of the story the sacrifice can be his life, his love or his own happiness.
During his journey the character of the hero grows from a self centered ego to a new
and better identity. This grow is just possible by separation from his ordinary world and
his safety zone which most of the time means his family or another kind of group. He is
send out to a challenging new world full of strangers and jeopardy to finally return to
his old ordinary world but with an extended view. The heart of the story often builds
around the life lesson the hero needs to learn during his travel. He will learn that lesson
through another character often the mentor or the lover but sometimes it could also be
the antagonist or villain who teaches the hero.
Also other characters can have heroic features. Especially the antagonist and
counterpart of the hero often has an heroic side. The villain is willing to sacrifice
everything to obtain his goal which is contrary to the hero’s one.
It's important to understand that the hero doesn't have to be a hero in the classical
greek manner. He could be an innocent Star wars loving computer geek drawn into a
journey by stepping into the wrong door at the wrong time. In the beginning there will
be nothing heroic about the main character. But his grow and his travel will lead him to
heroic actions and self sacrifice.
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• The Herald
The main function of the herald is to announce the challenge. This announcement is
the key event sending the hero to his journey. The herald is the person or the piece of
information which rattles up the hero's ordinary world. The herald can have many
different shapes; it could be a person, an event, a force, the start of a war and so on.
The second function of the herald is to warn the hero while he is send of to his
challenge.
• The Mentor
The mentor could be the drill instructor, the older police officer, the aged warrior, a
grandparent and so on. He represents the wise and grown qualities of mankind. The
main role of the mentor is to teach and to guide the hero when ever he struggles. The
teacher sometimes seems to be a foolish person but offers the right gift at the right
time. The gift can be whatever the story needs like medicine, weapons, a key or an
missing important information. Typically the hero needs to pass some sort of test to be
dignified to receive the gift by the mentor. Often the gift seems to be an object without
any significance but turns out to be the key to go on. The hero doesn't always
appreciate the help and assistance of the mentor. Best example I can think of is Obi-
Wan Kenobi in George Lucas Star wars. He acts as a mentor for Anakin and Luke
Skywalker. Both of them sometimes struggle with him and often don't appreciate his
help but in the critical moments they always turn back to his guidance.
• The Threshold Guardian

The first barrier the hero has to overcome, also known as the first obstacle, will be
appear in the shape of the threshold guardian. His main role is to block the hero's road
and to test him. The threshold is the gateway from the ordinary world to the special
world and the guardian is its gatekeeper. He is usually not the antagonist but a
henchman or employee of him. This clash of the threshold guardian and hero is just
the first initial test which the hero will have to face on his path to the arch-villain.
The threshold guardian can also appear as a neutral or an ally testing the hero's
worthiness. Another role of the guardian is to show that the road will not be easy and
that the hero needs to grow to be able to resolve all challenges. The encounter
between threshold guardian and hero will be early in the story, typically soon after the
call to adventure.
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• The Shapeshifter
The shapeshifter is the by far the most uncertain and question raising character. He
jumps in between different personalities often in very significant ways. The
changeability of the shapeshifter is the core of it's archetype. The hero is uncertain
about the shapeshifter's aims and allegiance and so is the audience. The truth of his
claims are often disputable. The shapeshifter can be male or female but is commonly
from the opposite sex and the hero shows romantic interest in the shapeshifter.
Sometimes the shapeshifter can appear as a buddy figure of the same sex. The main
role of the shapeshifter is to drive the story by adding suspense about the character.
This happens because the hero and the audience question and doubt their own beliefs
and assumptions about the character. The changing nature of the shapeshifter causes
the hero to change along with him. Like other archetypes it is possible for other
characters to use some features of the shapeshifter at different times in the story. A
often common example is the hero taking the role of the shapeshifter to pass an
obstacle. Also mentors often have a shapeshifter side.
• The Shadow
This archetype represents all the things we condemn and deny. The shadow is the
negative force in the story often taking the form of the antagonist. But only if the
antagonist is also the villain. Sometimes the antagonist is a descent person but his
intentions disagree with the hero's ones. But if the antagonist is the villain than he is
also the shadow. The hero needs to battle against the shadow to reach his goal and
the fight goes until the deadly end. The shadow doesn't see himself as a villain. He
thinks that he is the hero and the story's hero is the villain.
• The Trickster
The main role of the trickster is to provide a comedy relief for the story to offset heavy
dramatic tension. Often the trickster is an ally or the sidekick of the hero or the villain.
He uses the force of cunning to win against stronger and more powerful opponents.
The trickster the clown of the story. He's responsible to keep things in proportion.
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4. Given Circumstances
There are many terms used to describe the beginning of all plays – social context,
playwright's setting, local detail or literary landscape. The given circumstances are the certain
conditions of time and location of a story. The circumstances are often ignored for being
insignificant but the truth is that the given circumstances are the glue of the plot as they set
the characters and the story into the 'here and now'. They influence the characters, create the
environment and also can be responsible for creating tension through complications. Smart
playwrights can use given circumstances to give certain clues for other parts of the play. For
understanding the force of circumstances it is necessary to divide it into its parts.
4.1.Time
The time of given circumstances has three different aspects.[12]
• Time of Composition
This aspect of time is not part of the written play. It's the the actual time era the writer
wrote the script. It's important to know this time because it influences the writing style
of the author. The life and the world of the author mold his work and it's essential to
take it into consideration when it comes to understanding a script.
• Time of the Action

In the majority of scripts and plays it is fundamental to extract the exact time period the
story takes place. That can happen by mentioning the year in an opening sequence or
by using well known references to events like politicians, wars or sport events. The
introduction of the season could be by a scenic shot over a snow covered town. This
aspect of time gives the plot more realism and accuracy and it helps the audience to
understand the dramatic situation. The time of action can also provide material for
conflicts. An historic event can help starting the story. The dialogue needs to be
adapted to the appropriate language of the time setting. This explains why a proper
research on the time period is crucial element of preparation before start writing a
script.
• Dramatic Time
The dramatic time is the total time that passes during the whole script. Some movies
cover just one single day while other stories go on over three years. Some scripts
provide very precise determination while others like to confuse the audience by using
different references. Those references can be placed by dialogue, natural climate, by
time typical habits and the list goes on and on.
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4.2. Place
The physical environment of the story influences the action, the characters and the movement
of the plot dramatic. Some people think that the mis-en-scene should be illustrating the
physical environment but it also transports the script's inner spirit. The place is therefore an
extremely important part of the story experience. [13]
• General Locale
The first subdivision of the place is the general locale, the country, region, or district the
story takes place. Information on this general locale are normally given in the
beginning of the script. It's important that the knowledge about the place is
communicated to the audience by dialogue or the mis-en-scene early in the story.
Otherwise the audience could end up confused and distracted. Smart playwrights can
use this factor to add more meaning to their story by choosing an interesting and
conflict providing location. People tend to have emotional associations with certain
places. Writers choose certain general locale not just for emotional associations but
also for realism and authenticity.
• Specific Locale
The specific locale is the specific place where the single scene takes place like a bar or
an apartment. In every scene this specific locale is described in the scenery notes.
Similar to the general locale the specific locale needs to be introduced to the viewer by
dialogue, setting or/and montage.
4.3. Society
The society inside a story is a closed system because the society has been isolated from the
world of objective reality. A story can follow standardized rules similar to the real world or the
society can have their own rules and regulations. The choice of the social group of a plot
gives the story it's personality. The communication and the behavior inside a family is
significant different to the public ones. The consequences of the choice of the social group
are humongous and complex. [14]
• Family
The most common and most important social group of the most stories is the family.
This step is the most logical one as we all have a family. This social group is typically
the closest one which means also the one with the most potential for conflicts. The
family is the basic social unit of every society. The variety of feasible clashes are
endless: From fights and dramas between husband and wife, over psychotic
relationships between parents and children to competition among siblings.
There are a lot of existing associations and prejudices as everybody has experiences
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with his own family. Expectations on certain relationships are perfect soil for future
conflicts. Families give complex structures and strong bonds to work with in the writing
progress. In many modern dramas family love or its absence are the dominant topics.
• Friendship
“Friendships are sympathetic social bonds outside the family.” [15] Friends can be
allies and companions during certain events and time periods. Friendships have, like
family relationships, emotional expectations. Those expectations can be proofed right
during the action of the play or the friendship can be tested by situations and incidents.
• Love
The biggest bond of all is love. It can be the love between a heterosexual couple, as it
also can be a homosexual one or the love of a mother to her child. One of the most
common used and also the most loved topic is destructive love. Love is always a good
explanation for acting stupid or doing unexpected things. And everybody can
emphasize what love is in his own way. A story always confirms or refutes existing
expectations of the audience in the most dramatic way possible.
• Occupation
This social group is defined by how the characters earn their living and their correlation
to others with the same or different occupation. An occupation group offers different
dynamics then families or friendships. The occupation of a character can help defining
who he is. An example is Patrick Bateman, played by Christian Bale in American
Psycho. He belongs to a group of business man who care most about table reservation
and business cards.
• Social Rank
The social rank is specified by a character's position or his standing in a certain
society. Nowadays this standing is assigned by values like wealth, power, formal
education and material issues. The system is based on more fortune groups giving
orders to lower social ranked groups. Those groups have different behaviors and
habits but also rules and structures. Disputes and conflicts between different social
ranked groups already existed in the past and they always will be. In the past the
groups where divided by aristocratic birth, nowadays it's because of education and
income.
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• Social Standards
Social Standards are the generalities, codes and common beliefs of a society. A
character is expected to follow those standards without questioning it. Those standards
can include individual rights, antisocial behavior, prohibition against dishonesty and the
belief in hard working and being a productive part of the society. There is no need to
proof those standards because the character accept them anyway. The violation of
these standards would cause shock and moral revulsion which would justify the use of
extreme punishment.
4.4. Economics [15]

Financial struggling and economic problems often appear together with social rank issues.
Gaining and losing money is one of the biggest issues of our society. It's all about the money.
They financial system with the most potential for a good story is the capitalism as it is
common in the United States of America. Capitalism is based on the freedom of the individual
and a free market. A perfect playground for successful rich businessman but a never ending
struggle for those without luck and start up money.
4.5. Politics and Law [16]

The political institutions, legislation and legal authorities are not just dominating the Television
News. Political institutions and authorities always existed and have always been subject of
discussion. Some people, no matter voted or by violent overtaking, having the right to judge
and determine on somebody's life or destiny.
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5. Background Story
The Backstory is a term used for Television and film to describe a behind-the-scene look of a
production. Directors, actors and crew members provide further information about the show to
let the audience understand how much work, love and sweat a show actually needs to work.
It's similar with scripts.
A story tells just a part of somebody's life. But everybody has his past and this experiences
and memories create the character's personality. His past makes the person to what he is
now. It is also like this with the characters in a script. They have a life before the story and
often after the story as well. In case it's not a story about somebody's death. A good
scriptwriter uses dialogue and actions of characters to show what happened with them in the
past. It helps the audience to understand what drives the character and why is he behaving
the way he does. Here it's important to find the path between the risk of not understanding the
character and let character carrying the past like a clumsy heavy weight. If we give to much
insight into the past, the background story draws to much attentions from the main action and
the movement of the story is endangered. They main goal is that the story stays dramatically
compelling. To do so, there are several arrangements to be made. First figure out what is
important, not just for the character but also for the audience. The question of “Does the
audience need to know this?” should be essential to every fact of the past added to the script.
There are three main forms the background story can occur during the main story. [17]
• Events
As the name already points out, something happened in the past. This event has to be
significant for the further action, life changing or the source for a conflict occurring later
on in the story. The event in the past can have different versions as every character
has it's own point of view on something. This doesn't mean that one of the characters
is telling a lie. Past events have big potential to be the source for further conflicts.
• Character Descriptions
Introducing a past event often includes a description of the characters involved. Even
though some of this information will not make into the final movie it's an essential
source for the crew and everybody involved to understand the character's actions.
The information making it into the final draft has to be crucial for the emotional
understanding of the character.
• Feelings
To understand how the past events have influenced the character it's needed to know
how the character felt about the event. The past feelings explain why for example
somebody feels ashamed for something while another person doesn’t care about the
action at all.
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6. External and Internal Action [18]

The plot, also known as the dramatic action and the arrangement of incidents have two big
parts. As I explained earlier, progression of the action is the key for a successful plot. The
action drives the story forward. If this forward motion is slowed down or comes to stagnation
the interest of the audience fades.
• External Action
First of all the plot need to give information about the external action. This is the actual
physical action which is going on in the story. It's like the first plan of the story. Every
story starts with physical action of a character but he develops to deal with internal and
psychological issues. The external actions is the source of knowledge about the
environment and the mis-en-scene.
Blocking: It is the movement and positioning of the characters in the scene. It helps
understanding the relationships between characters and reveals the emotional mind-
set of the scene. It can be indicated in the dialogue where the characters are
positioned or by describing the external action.
• Internal Action
Strong plots often contains a lot of external action: fights, a lot of exits and entrances,
rescues, secrets, lies and crimes. But a plot is more then just those events happening
one after another. The internal action adds depth to the character's actions. It's also
known as internal dimension or psychological action. The focus lies on the
changeability of the character's internal motives and his mental, spiritual and emotional
impulses.
7. Conclusion
To analyze a script successfully, four big key elements needed to be inspected:
The external action, the internal action, the progression and the structure.
Those are the big four abutments of a plot. The shaping of the characters, the dialogues and
so on are just the finishing and the smoothing of the raw material. If the external action does
not drive the plot forward the progression is not guaranteed and the audience will lose
interest. The internal action helps the audience to emphasize and truly understand the
character's inner kernel. The structure helps the viewer to follow the story. Like a map, the
structure guides the audience through the story. If this key elements work together, the script
will be an enjoyable read.
21
8. List of References
Sources:
[1] Lecture TFM 310, San Diego State University, September 6th 2011
[2] James Thomas, Script Analysis 4th edition, Chapter 5, Page 129 – 130
[3] http://www.ucmp.berkeley.edu/history/aristotle.html, January 18th 2012
[5] http://en.wikipedia.org/wiki/Gustav_Freytag, January 20th 2012
[7] http://www.sydfield.com/about.htm, January 24th 2012
[8] http://en.wikipedia.org/wiki/Joseph_Campbell, January 27th 2012
[9] Lecture TFM 310, San Diego State University, October 11th 2011
[10] Lecture TFM 310, San Diego State University, October 4th 2011
[11] http://www.svsoft.com/Archetypes,%20Myths%20and%20Characters.htm, January 30th 2012
[12] James Thomas, Script Analysis 4th edition, Chapter 2, Page 40-42
[15] James Thomas, Script Analysis 4th edition, Chapter 2, Page 56
Pictures:
1. http://en.wikipedia.org/wiki/Aristotle
2. http://www.mrdaley.com/wordpress/narration/plot-and-freytags-pyramid/
3. http://www.writersstore.com/authors/syd-field
4. http://www.sydfield.com/featured_theparadigmworksheet.htm
5. http://www.sydfield.com/featured_theparadigmworksheet.htm
6. http://www.createandshare.es/wp-content/uploads/2011/06/joseph_campbell.jpg
7. http://flowtv.org/wp-content/uploads/2009/08/voytilla-screengrab.png
22

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How to analyze a Film Script Sara Schützenhofer Bsc dm101549

How to analyze a Film Script

Sara Schützenhofer, BSc dm101549

Supervising Tutor: Jörg A. Eggers

1.2. Basic Terms 3

2. Progression and Structures 5

2.2. Film Structure Theory and Models 5

2.2.2. Gustav Freytag 6

2.2.3. Syd Field 7

2.2.4. Joseph Campbell 10

2.3. Television Structure 12

3.1. Character Archetypes 13

4.5. Politics and Law 19

6. External and Internal Action 21

How to analyze a Film Script

1.2. Basic Terms [1]

• Plot: The Narrative

• Diegesis: The diegesis is the world of the film story.

2. Progression and Structure

2.2. Film Structure Theory and Models

2.2.1. Aristotle (384-322 B.C.)

Aristotle was born in Greece as a son of the royal physician

3 Act Structure by Aristotle

Act II - The Middle: The middle follows something and is followed

2.2.2. Gustav Freytag (1816-1895)

Picture 2: Freytag's Pyramid

Freytag's Dramatic Pyramid [6]

2.2.3. Syd Field

The Syd Field Paradigm

Picture 4: The Syd Field Paradigm

Picture 5: The Syd Field Paradigm on Shawshank Redemption

2.2.4. Joseph Campbell

Picture 6: Joseph Campbell

The circle of the hero's journey [9]

ACT I: Separation – The ordinary world

ACT II-A: Descent – The special world

6. Tests, Allies, Enemies

ACT II-B: Initiation – The special world

ACT III: Return – The ordinary world

11. Resurrection (Climax)

2.3. Television Structure

Warner Bros. Sitcom Paradigm [10]

2. The protagonist confronts a hive (1st obstacle)

3. Somehow he figures out a way to get off the tree (resolution)

3.1. Character Archetypes [11]

• The Threshold Guardian

• Time of the Action

4.4. Economics [15]

4.5. Politics and Law [16]

6. External and Internal Action [18]

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