狮子王动机冲突

狮子王动机冲突 Motivation Outer Motivation Inner Motivation What the character Why the character wants wants to achieve to achieve it Plus Conflict Outer Conflict Inner Conflict Conflict against external forces Conflict against part of oneself , Character Growth , Development of new abilities in the face of challenge , Critical reconsideration of goal , Reflection and incresaed knowledge of self and world chapter2. ppt 关于艾滋病ppt课件精益管理ppt下载地图下载ppt可编辑假如ppt教学课件下载triz基础知识ppt Draw a Motivation ?Conflict?Character Growth chart for the protagonist of a film of your choice Take The Lion King as an example Motivation Outer Motivation Inner Motivation Simba must recover his kingdom Simba must recover himself (i.e. a knowledge of himself as “his father’s son”) plus Conflict Outer Conflict Inner Conflict Conflict with Scar: Scar seizes Conflict with himself due to the kingdom from Simba, and self-doubt and unwilling to Simba must take it back. confront difficulties from his own past. , Character Growth , Development of new abilities (i.e. the self-confidence to chall enge Scar) , Reconsideration of goal (i.e. the goal is not just to rule, but to rule well, as his father did.) , Reflection and increased knowledge of self and world (i.e. knowledge that courage is not the same as looking for trouble, knowledge that no worries is not a sufficient life philosophy; knowledge that his father lives on in himself; knowledge that ruling is a duty as well as privilege.) Cinematic performance Characters in themselves are only part of the story, because they are nothing until they are realized in performance. Characters in cinema differ greatly from characters in novels because of the absence of a narrator. So their full complexity can only be conveyed through words and actions performed by an actor. Similarity of cinema and theater: The centrality of performance The differences of cinematic performance and theatrical performance: Theatrical performers must adapt their performance style to the specific material conditions especially the distance of the audience. So they must pay attention to: 1) the clarity of their delivery 2) the expression of mental state and emotion through visible bodily gestures. Cinematic performers must master the appropriate expressive mode for a whole range of possible camera distances, from the distance shot to the close-up. 1) the bold, physical gesture and strident voice for a long- distance shot 2) the delicate variations in facial expression and vocal delivery for a close-up A film is the end product of a process that includes a long period of careful editing and rearrangement. Films are pieced together from separate scenes and sequences. The concept of the actor’s two bodies The theorist Richard Maltby has pointed out that from the perspective of the audience, the film actor has two bodies because the real actor and the character being acted must occupy the same physical body, the audience experiences the presence of the performer as well as the presence of the character in the same body. Corresponding to these two bodies of the actor and the character are the two fundamentally different acting styles: Presentational style: focuses on the reality of the actor (the actor presents himself to the audience as himself) Representational style: focuses on the reality of the character (the actor does not present himself but instead represents the character he is playing) In their extreme forms, the representational and presentation styles are manifested in two cinematic phenomena: Method acting and the star system. Method acting sought to employ the personality if the actor as kind of psychical recourse in the construction and performance of the fictional role. Central to the theory of method acting was the concept of affective memory. Affective memory is constituted by those deep memories- fears, desires, anxieties- that can be drawn upon by the actor in order to better identify with the character. Once tuned in to his own affective memory, the actor can draw on it to actually experience the mental and emotional state of the character. When the actor has employed his own emotions to fully identify with the character, he will naturally be able to behave and act in away that is psychologically convincing to audience. Star system tends to employ a more presentational style, allowing the actor or actresses stand out from that of the character. The star is a valuable economic asset. A star has two things that an actor doesn’t have: charm and the ability to sell tickets. The star phenomenon adds to audience pleasure, and that the use of stars is one of the key techniques of filmmaking in Hollywood. Four elements in the production of a star: Promotion, publicity, films, and criticism/ commentary. Promotion refers to the work done by studios to put forward a definite image for the star- the process involve changing names, arranging interviews, constructing artificial life histories, and even managing personal relationship. Publicity is the non-deliberate emergence of personal information about the star into the public sphere. Publicity can sometimes appear to be negative and potentially damaging to the star’s prospects. However there is no such thing as bad publicity