Everybody Loves A Happy Ending

The three act structure is one of the foundational forms of movie
narrative that Hollywood uses to entertain and inspire movie goers
from all walks of life. Often referred to as the “happy ending
structure," the three act structure is a form of movie narrative that
is often used to tell a quest or triumphant story. This form of movie
narrative is derived from the five act structure, often referred to
as the classical tragedy structure. As Professor Ramirez- Berg stated
in his lecture, the three act structure breaks a film down into three
separate stages used to tell the narrative. A film I recently had the
pleasure to view, ZOMBIELAND, is a magnificent example of the three
act structure with its use of the three stage format.


The first stage in the three act structure is the introduction. This
act is usually told within the first thirty minutes and consists of
the rising action, introduction of the characters, and the rules of
the world being introduced. The end of the first act is marked by 1st plot point. This is where the action is propelled into the next act.


In ZOMBIELAND,we are introduced into a completely chaotic version of
the United Sates. A form of mad cow disease has turned the human race
into flesh eating zombies! Buildings are ransacked and burning down.
Vehicles are without passengers piled along the interstates.
Basically, the U.S. has turned into one desolate ghost town. In the
very beginning of the film, we are introduced to the main character
“Columbus”, a college student whose rules such as the infamous “double
tap” has kept him alive through numerous zombie attacks. The rising
action comes to play when Columbus is involved in a car accident on
his way to Columbus, Ohio to see if his family is still alive. This
is when he meets “Tallahassee”, a quick trigger gunslinger, who is
shy a couple marbles upstairs and is on a personal quest to find the
last Twinkie. Together they manage to find some creative ways to kill
a few zombies, along the way they meet two young sisters named
“Wichita” and “Little Rock” with a few tricks up their sleeves. Plot
point 1 occurs when the girls con Columbus and Tallahassee into
handing over their weapons and stealing their Hummer.


Now the movie transitions into the second act which is called the
complication act. This act is usually composed of what is keeping the
main characters from getting what he/she wants. This is where the main
difficulties of the movie narrative come to play. This part of the
narrative is usually the hardest to write for screenplay writers.
Usually composed of thirty to sixty minutes, this is the part of the
narrative where the story unfolds. The end of this act is marked with
plot point 2.


During the complication act in ZOMBIELAND, Columbus and Tallahassee
eventually catch up with the two girls and they come to the conclusion
that each is better off if they work together. The group ultimately
decides to go where the girls were originally heading to, “Pacific
Playland”. Columbus is reluctant to go with them until Wichita (the
older sister who happens to be similar in age with Columbus) informs
him that Ohio has been completely destroyed. This information is
crucial because it implies his family has turned into zombies.
We are also learning about a deeper complication about
Tallahassee in that his son was killed by the zombies.During this act
two tensions develop. The first is the question, is there anywhere
to go that is zombie free? The second tension is the developing
feelings between Columbus and Wichita. These feelings lead right to the
second plot point. The two have a little wine and are so very close
to a kiss that Columbus has been longing for ever since she robbed the
poor fellow. Right before their lips meet, Tallahassee barges in to
completely mess everything up.


The third and final act is the resolution. Usually this act is the
last thirty minutes of the film. It is at the end of this act(last 5 minutes or so) when the climax takes place. In ZOMBIELAND, we have these two rising tensions brought up in act two that need to come to a boil.
In the beginning of the resolution we learn the girls bail on the guys again in attempt to go to Pacific Playland. This time it was due to the fear
of attachment Wichita had towards Columbus. From her perspective everybody she grew close to now eats flesh for a living. Reaching deeper into her psyche, she has made a pact with her sister that it’s them against the world. She is hesitant to let Columbus between them. In this act
Columbus takes initiative over Tallahassee and goes after
the two girls in a rescue attempt. At this point in the narrative each
character is faced with the serious decision of where do I go from here?
Ultimately Tallahassee follows Columbus to save the girls at Pacific Playland.
Here is when the climax takes place. As they arrive zombies have
taken over the entire amusement park. Tallahssee goes on a rampage,
killing hundreds of zombies while Columbus is in full blown rescue the
‘princess” mode. In the end, Columbus gets the girl and Tallahassee
gets his twinkie and they all lived happily ever after.

The Great American Family Sitcom, Guarunteed to be Simple and... Simple

Episodic structure is a crucial aspect in understanding the television sitcom format. Family sitcoms have many uniting characteristics we all should be aware of. Generally they air in the early evening from 7-8 pm in half hour increments. Usually the nature of the sitcom is full of hyperbole and are absurd. The sitcom itself developed from theatre which is the reason the setting resembles a stage and is often filmed in front of a live studio audience. The format of most sitcoms is episodic while some may be classified as serial. In order for a sitcom to be serial, the narrative needs to be complex with a long term plot and complicated character development. This is why serial tendencies are more inclined to be linked in the genre of drama. On the other hand, episodic tendencies are prominent in comedies.


A give away that a sitcom is episodic is the common “lesson learned” sitcom. This occurs when the main character learns a valuable lesson in the short thirty minutes each week he/she has your undivided attention, meaning the show ends where it began. It’s also highly unlikely the character will mention the lesson or issue ever
again. The characters in an episodic sitcom are very predictable and familiar implying character growth will most likely be avoided.





I must admit, usually I avoid television sitcoms for the very same reasons I just mentioned that forms their episodic nature. However, they’re times when some simple humor is just what the doctor ordered. I enjoy tuning in to My Name is Earl ever so often to see what mess he got himself into. The premise of the show is about a small town criminal who wins the lottery and gets hit by a car before he can spend a dime. While in the hospital and under the influence of morphine, he begins to believe in the power of karma. He writes a list of all the people he has cheated or
scammed and decides to right his wrongs.


In each episode Earl, the main character, uses his money and smooth talking to help someone he has previously screwed in attempt to receive good karma. While helping others out, he tends to learn a valuable lesson that increases his overall morality. Usually the lesson is something quirky mixed with some self-reflection. A normal concluding quote said by Earl is, "I learned two things that day. I hated guys with alligators on their shirts and I was a terrible shot." This particular reflection at the end of the episode is at the same bar where the beginning of the show takes place. The comedy in My Name is Earl is usually absurd and addicting at the same time. Be warned, you will be reminded of that distant second cousin or brother in law you see every Thanksgiving. Character growth is essentially nonexistent. Personalities and attitudes are as consistent as the red on their necks, leaving each character to be highly predictable. Overall the show is dangerously episodic. You can watch the show once every few months and be
completely aware of what is going on...at least that’s what I do.

Note:
Apologies if this reads like a radio instruction manual. I wrote this blog right after Texas lost to Iowa State, thats right Iowa freaking State!

Film Language of "The Glow"

Shot progression is crucial to understanding the art of film language. Films not only tell stories verbally but visually as well. The way a scene is shot affects how the viewer interprets the action being portrayed in the film. The usual progression goes from general to specific by using long shots, medium shots, and close up shots. A long shot is known as the orientation shot by providing the viewer with the setting. The medium shot is the information shot. It increases the amount of detail shown by often revealing certain relationships. The most specific shot is the close up. This shot focuses on the important details the director is trying to convey such as the emotions of the character. Let’s take a look at a 1980’s kung fu flick based in Harlem.


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The Last Dragon is about a teenage African-American boy named Leroy Green who is on a quest to reach the “final level” of martial arts in which he will actually glow during battle. Of course, during his journey there are villains that he must conquer in order to reach his illuminate status as the dubbed “last dragon.” The scene I would like to introduce is the epic last fight sequence between Leroy and his arch nemesis Sho’nuff, who is the self proclaimed “shogun of Harlem.”





The scene begins with a long shot that is used to show the viewer the place where the two are duking it out. The shot shows a back alley connecting different factory warehouses together. Immediately we see the setting is dark and highly industrial. This shot creates an authentic urban feel that sets up the rest of the scene. As our attention is grabbed by the action we see Sho’nuff and Leroy in the she back of the shot.


The scene then progresses into a medium shot. We can now see the immediate relationship between Sho’nuff and Leroy. In just a moment’s notice we see Sho’nuff drowning Leroy. This shot is very informative as it reveals who is dominating the dual at this point. The medium shot is also used to show the dialogue between the two after Sho’nuff lifts Leroy’s head out of the water. This is crucial because the director chooses to use a medium shot to reveal the most important part of the film,, you guessed it, the glowing scene.



As Leroy’s whole body begins to glow he sways his arms in a manner that would even inspire Keanu Reeves as Neo, the shot zooms in on a close up of Sho’nuff. This shot focuses on the important details such as the characters emotion. We can feel the rage flowing from the eyes of Sho’nuff. His face has a very distinct evil grimace showing he is ready for the final showdown. May I add, it is also quite noticeable that the man’s hands are glowing red! Then the director does something interesting as we are given the viewpoint of Sho’nuff watching Leroy creep closer to us with a look of utter determination on his face.




The rest of the scene is composed of medium shots showing what happens when you fight a man whose whole body illuminates the color orange. Mental note 587, never fight a man who glows.

The Star System of Classic Hollywood

Classic Hollywood’s studio system placed an emphasis on certain stars to promote films that the studios produced. The 1920’s through the 1940’s was a landmark time in the history of cinema that is often referred to as the golden age. Although during this same era our nation was recovering from a depression and fighting through World War II, movies provided escapism for most Americans. The depression ruined many of the independent movie theatres and small producers of the time which strengthened the control of a few major players. The five major studios were MGM, Paramount, 20th Century Fox, Warner Bros., and RKO. They were fully integrated, meaning they had complete control of their movie production, distribution, and exhibition. It is also important to include the three minor studios Universal, Columbia, and United Artist. These three did not have control of their own theatres. The major studios goal was focused towards economies of scale by maximizing profits while limiting production cost. One way they accomplished this was by focusing on the star power of the actor.





The major studios’ realized early on that the audience had strong feelings towards the actors and actresses of their films. They used the popularity of the actor or actress to promote their movies, this technique is known as the star system. The stars were discovered and contracted by the studio in an effort to sell their products. This meant that actors and actresses were prohibited from being in another studios movie unless the studio they were under contract by allowed them to do so. Under this philosophy, stars were used to market products, promote other actors, and even other genres of film. The studio system was set up like a modern factory, often referred to as a “Fordist” meaning everything was assembled on site. This included the actors in which at the time were considered no different than an assembly line worker. However, the stars of the time were the best representations of what the studio was doing.



The stars had a direct effect on the type of movies the studio produced. Each star was attached to a genre of film. They indicated to the studios what the audience wanted to see. When certain actors gained momentum and popularity, Hollywood produced more films starring that actor in order to increase profits. If that actor was known as a gangster, the studio produced more gangster films in order to exploit the actor. Audiences were attracted to the stars of the films more than the plot itself. Certain character traits moved from movie to movie. These character traits could even become more important than the genre of film.




A prime example of an actor that was a product of the star system was Warner Bros. star, Humphrey Bogart. He got his start playing in gangster films like Angels with Dirty Faces. His big break came when he played the role of a detective in The Maltese Falcon which is widely regarded as the defining film of the “film noir” genre. Of course, you cannot mention Humphrey Bogart without noting his remarkable performance as Rick Blaine in the war classic Casablanca. Bogart became more popular than the movies themselves. Audiences flocked to see him play his usual hard cynical character that ultimately is noble by the end of the film. He also had a set of star traits that the audience could count on seeing no matter the plot or even the genre. Take Mr. Bogart’s trademark, his fedora and raincoat,when he slipped on this attire the audience knew Bogart meant business as the day was about to be saved. Together they certainly made for a beautiful friendship.

Blog # 4: The Bunkers's vs. The Forman's

"All in the Family" and "That 70's Show" use different approaches towards family structure and social issues that together, help me grasp what the traditional family was like in the seventies.


The family structure of " All in the Family" and "That 70's Show" is quite similar. Both of these situational comedies are composed of the traditional blue collar family. In "All in the Family', Archie Bunker is a working class husband, who also is a World War II veteran. Archie has strong prejudices against anybody who isn't a U.S. born, politically conservative, white male. His Wife, Edith Bunker plays the classic joyful, ditsy role to the tee. She is always very supportive of her family and if or may I say when, she disagrees with Archie it's always with a smile. Their child, Gloria Bunker Stivic is married and most likely in her early twenties. She still lives with her parents, but of course now she has brought her husband into the nesting ground as well. Micheal Stivic is Gloria's hippie husband. He and Archie frequently clash on social issues such as homosexuality. With Micheal representing the the views of a 1960's counterculture and Archie, the traditional "good ole boy" mentality.



Growing up, it was the situational comedy of "That 70's Show" that shaped my views of family structure of the seventies. Unlike "All in the Family" which aired from 1971-1979, "That 70's Show" aired from 1998-2006. Centered towards the teenage viewer, it gave many like myself a glimpse of what family life was like pre Nintendo and TiVo. This show has many similarities as well as distinct differences to "All in the Family". The breadwinner is Red Forman. He is also a working class husband and war veteran. Like Archie, he thinks the kids of the era(including his own son) are a bunch of pansies. While he comes across like a hard old man, towards the end of the episode his wisdom usually helps out his family. This view contrasts with the Archies', who usually learns some type of lesson towards the end of an episode. Red's wife Kitty is pretty much a clone of Edith's character. She is giddy, naive, and extremely supportive. Unlike Edith, Kitty has a job as a nurse. She is also often portrayed to be drinking a lot with frequent mood swings. The Forman's have two children. The oldest is Laurie Forman, she is casted as a very flirtatious and promiscuous college drop out. Unlike Gloria who is married, Laurie's character seems to get with every male character on the show who's last name isn't Foreman. Their youngest child, Eric is the focal point of the show. His character is much like Micheal, he views the world very differently than his father, challenging the old conservative views. Although Eric often is too scared to confront Red. Eric respects his father to the point of fear. Unlike "All in the Family", "That 70's Show" focuses on Eric and his extended family: his friends.


"That 70's Show" revolves around Eric's relationships with his friends as they discover who they are as individuals. The show takes on such social issues as feminism and teenage sexual attitudes of the time and how they relate to the teenage population of the time. One of the reoccurring theme's is his girlfriend Donna evolving into a strong feminist woman. Another important aspect of the show is how each of the male figures are consistently curious about sex. Using different characters to approach different sexual attitudes. There is Micheal who plays the womanizer, Fez is the mysterious foreign exchange student, Hyde plays the classic bad boy, and of course Eric who is in a long term relationship. It would do the show injustice to go without mentioning the famous in the basement "smokey" scenes. This is important because it portrays how the show doesn't discount the use of marajuana amongst teenagers in the era. Usually this is when each of the teenage characters are reflecting on their current issues of the episode.



"All in the Family" was much more blunt in its approach to such issues as homosexuality. This show seems to be more directed to the adults of the time, as you see the world through the eyes on Archie. While in "That 70's Show" Red may make a comment about being a pansie, it isn't the focal point of the episode, rather it is a side issue of character development."All in the Family" attacked the issues of the time such as the episode we watched about homosexuality. The whole episode was geared toward the topic, forcing the viewer to confront the issue or change the channel. However, in "That 70's Show" social issues are more lighthearted, put in place to show the growth of teenagers in the seventies.



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