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The purpose of this chapter is to explore how classical narrative structures can be challenged or expanded, and at the same time to offer a critical reinforcement of what purpose structure serves in the first place. Some of the alternative structures suggested, which break away from the conventional three acts, offer ways in which screenwriters can experiment with storytelling chronology, and challenge audience perceptions of and interactions with story. Flashbacks, multiple protagonists, parallel and sequential narratives are all ways of breaking the mainstream mould – but they still need to work for an audience. Narrative pleasure and story coherence are fundamental aspects of screenwriting, and sometimes those who challenge the rules are in fact doing little more than reshaping them. The chapter thus also revisits notions of story and dramatic pleasure, discussing how narrative structure embodies ideology and can serve societal intent
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go back to reference Aristotle (1996) Poetics (trans. Malcolm Heath), London: Penguin. Aristotle (1996) Poetics (trans. Malcolm Heath), London: Penguin.
go back to reference Aronson, L. (2001) Screenwriting Updated: New (and Conventional) Ways of Writing for the Screen, West Hollywood, CA: Silman-James Press. Aronson, L. (2001) Screenwriting Updated: New (and Conventional) Ways of Writing for the Screen, West Hollywood, CA: Silman-James Press.
go back to reference Campbell, J. (1993) The Hero with a Thousand Faces, London: Fontana. Campbell, J. (1993) The Hero with a Thousand Faces, London: Fontana.
- Structures and Narratives
Dr. Craig Batty
- Macmillan Education UK
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