This is a paper for a specialized script analysis class for a bachelors of art in film program. It requires for a film to be viewed and then the script to be analyzed with the following criteria – identify the main character/ protagonist based on who’s character arc features a change at the end of the film and the most change. After that the character’s struggle must be identified – what they are dealing with, what they are seeking- this then guides us into the PREMISE of the film – the character’s need becomes the premise for the film. Then we look at the character’s constraints and freedoms in getting his goal such as his paradigm or physical constrains such as money or threats. Then we move to character population and how they serve to assist or hinder the protagonist’s pursuit of his/her needs. Then we need to examine story structure in terms of act breaks and the turning points in the story which form act breaks and also catalytic moments that move the story forward organically and lead us to the end, where the character changes. Each of these must be treated as layers of the script or story and each adds depth to the film. The character layer should be examined through contrasting relationships and how these dynamics emotionalize the premise of the story making it human and organic. This is not a criticism or a commentary it is an objective analysis and one must refrain from qualitative judgments. The use of terminology as mentioned above is important. There are three different films to be analyzed; two French films ‘Comme Une Image’ (Look At Me) (2004), ‘Tell No One’ (2006) and a third german film ‘Goodbye Lenin’ (2003)
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