Epsilon Theory March 16, 2016
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Introduction to Screenwriting 1: the 5 Elements
Introduction to screenwriting 1: The 5 elements by Allen Palmer Session 1 Introduction www.crackingyarns.com.au 1 Can we find a movie we all love? •Avatar? •Lord of the Rings? •Star Wars? •Groundhog Day? •Raiders of the Lost Ark? •When Harry Met Sally? 2 Why do people love movies? •Entertained •Escape •Educated •Provoked •Affirmed •Transported •Inspired •Moved - laugh, cry 3 Why did Aristotle think people loved movies? •Catharsis •Emotional cleansing or purging •What delivers catharsis? •Seeing hero undertake journey that transforms 4 5 “I think that what we’re seeking is an experience of being alive ... ... so that we can actually feel the rapture being alive.” Joseph Campbell “The Power of Myth” 6 What are audiences looking for? • Expand emotional bandwidth • Reminder of higher self • Universal connection • In summary ... • Cracking yarns 7 8 Me 9 You (in 1 min or less) •Name •Day job •Done any courses? Read any books? Written any screenplays? •Have a concept? •Which film would you like to have written? 10 What’s the hardest part of writing a cracking screenplay? •Concept? •Characters? •Story? •Scenes? •Dialogue? 11 Typical script report Excellent Good Fair Poor Concept X Character X Dialogue X Structure X Emotional Engagement X 12 Story without emotional engagement isn’t story. It’s just plot. 13 Plot isn’t the end. It’s just the means. 14 Stories don’t happen in the head. They grab us by the heart. 15 What is structure? •The craft of storytelling •How we engage emotions •How we generate catharsis •How we deliver what audiences crave 16 -
Bounded Rationality and Correlated Equilibria Fabrizio Germano, Peio Zuazo-Garin
Bounded Rationality and Correlated Equilibria Fabrizio Germano, Peio Zuazo-Garin To cite this version: Fabrizio Germano, Peio Zuazo-Garin. Bounded Rationality and Correlated Equilibria. 2015. halshs- 01251512 HAL Id: halshs-01251512 https://halshs.archives-ouvertes.fr/halshs-01251512 Preprint submitted on 6 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Working Papers / Documents de travail Bounded Rationality and Correlated Equilibria Fabrizio Germano Peio Zuazo-Garin WP 2015 - Nr 51 Bounded Rationality and Correlated Equilibria∗ Fabrizio Germano† and Peio Zuazo-Garin‡ November 2, 2015 Abstract We study an interactive framework that explicitly allows for nonrational behavior. We do not place any restrictions on how players’ behavior deviates from rationality. Instead we assume that there exists a probability p such that all players play rationally with at least probability p, and all players believe, with at least probability p, that their opponents play rationally. This, together with the assumption of a common prior, leads to what we call the set of p-rational outcomes, which we define and characterize for arbitrary probability p. We then show that this set varies continuously in p and converges to the set of correlated equilibria as p approaches 1, thus establishing robustness of the correlated equilibrium concept to relaxing rationality and common knowledge of rationality. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Game Theory with Translucent Players
Game Theory with Translucent Players Joseph Y. Halpern and Rafael Pass∗ Cornell University Department of Computer Science Ithaca, NY, 14853, U.S.A. e-mail: fhalpern,[email protected] November 27, 2012 Abstract A traditional assumption in game theory is that players are opaque to one another—if a player changes strategies, then this change in strategies does not affect the choice of other players’ strategies. In many situations this is an unrealistic assumption. We develop a framework for reasoning about games where the players may be translucent to one another; in particular, a player may believe that if she were to change strategies, then the other player would also change strategies. Translucent players may achieve significantly more efficient outcomes than opaque ones. Our main result is a characterization of strategies consistent with appro- priate analogues of common belief of rationality. Common Counterfactual Belief of Rationality (CCBR) holds if (1) everyone is rational, (2) everyone counterfactually believes that everyone else is rational (i.e., all players i be- lieve that everyone else would still be rational even if i were to switch strate- gies), (3) everyone counterfactually believes that everyone else is rational, and counterfactually believes that everyone else is rational, and so on. CCBR characterizes the set of strategies surviving iterated removal of minimax dom- inated strategies: a strategy σi is minimax dominated for i if there exists a 0 0 0 strategy σ for i such that min 0 u (σ ; µ ) > max u (σ ; µ ). i µ−i i i −i µ−i i i −i ∗Halpern is supported in part by NSF grants IIS-0812045, IIS-0911036, and CCF-1214844, by AFOSR grant FA9550-08-1-0266, and by ARO grant W911NF-09-1-0281. -
Federal Register/Vol. 68, No. 49/Thursday, March 13
11974 Federal Register / Vol. 68, No. 49 / Thursday, March 13, 2003 / Rules and Regulations a designee, and is a thorough review of DEPARTMENT OF TRANSPORTATION LIBRARY OF CONGRESS the case. The formal review determination shall be based on the Saint Lawrence Seaway Development 36 CFR Part 704 information, upon which the initial Corporation determination and/or reconsideration National Film Preservation Board; determination was based, and any 33 CFR Part 401 1994–2002 Films Selected for Inclusion additional information the appealing in the National Film Registry party may submit or OCHAMPUS may [Docket No. SLSDC 2002–13698] AGENCY: National Film Preservation obtain. Board, Library of Congress. (3) Timeliness of formal review RIN 2135–AA15 ACTION: Final rule. determination. The Chief, Office of SUMMARY: The Librarian of Congress is Appeals and Hearings, OCHAMPUS, or Seaway Regulations and Rules: publishing the following list of films a designee normally shall issue the Automatic Identification System formal review determination no later selected from 1994–2002 for inclusion in the National Film Registry in the than 90 days from the date of receipt of AGENCY: Saint Lawrence Seaway Library of Congress pursuant to section the request for formal review by the Development Corporation, DOT. OCHAMPUS. 103 of the National Film Preservation (4) Notice of formal review ACTION: Final rule; correction. Act of 1996. The films are published to determination. The Chief, Office of notify the public of the Librarian’s Appeals and Hearings, OCHAMPUS, or SUMMARY: In the Saint Lawrence Seaway selection of twenty-five films selected in a designee shall issue a written notice Development Corporation (SLSDC) final each of these years deemed to be of the formal review determination to rule amending the Seaway regulations ‘‘culturally, historically or aesthetically the appealing party at his or her last and rules (33 CFR part 401) published significant’’ in accordance with known address. -
Gibbard Satterthwaite Theorem and Arrow Impossibility
Game Theory Lecture Notes By Y. Narahari Department of Computer Science and Automation Indian Institute of Science Bangalore, India July 2012 The Gibbard Satterthwaite Theorem and Arrow’s Impossibility Theorem Note: This is a only a draft version, so there could be flaws. If you find any errors, please do send email to [email protected]. A more thorough version would be available soon in this space. 1 The Gibbard–Satterthwaite Impossibility Theorem We have seen in the last section that dominant strategy incentive compatibility is an extremely de- sirable property of social choice functions. However the DSIC property, being a strong one, precludes certain other desirable properties to be satisfied. In this section, we discuss the Gibbard–Satterthwaite impossibility theorem (G–S theorem, for short), which shows that the DSIC property will force an SCF to be dictatorial if the utility environment is an unrestricted one. In fact, in the process, even ex-post efficiency will have to be sacrificed. One can say that the G–S theorem has shaped the course of research in mechanism design during the 1970s and beyond, and is therefore a landmark result in mechanism design theory. The G–S theorem is credited independently to Gibbard in 1973 [1] and Satterthwaite in 1975 [2]. The G–S theorem is a brilliant reinterpretation of the famous Arrow’s im- possibility theorem (which we discuss in the next section). We start our discussion of the G–S theorem with a motivating example. Example 1 (Supplier Selection Problem) We have seen this example earlier (Example 2.29). -
An Economic Sociological Look at Economics
An Economic Sociologial Look at Economics 5 An Economic Sociological Look at Economics By Patrik Aspers, Sebastian Kohl, Jesper an impact on essentially all strands of economics over the Roine, and Philipp Wichardt 1 past decades. The fact that game theory is not (only) a subfield but a basis for studying strategic interaction in Introduction general – where ‘strategic’ does not always imply full ra- tionality – has made it an integral part of most subfields in New economic sociology can be viewed as an answer to economics. This does not mean that all fields explicitly use economic imperialism (Beckert 2007:6). In the early phase game theory, but that there is a different appreciation of of new economic sociology, it was common to compare or the importance of the effects (strategically, socially or oth- debate the difference between economics and sociology. erwise) that actors have on one another in most fields of The first edition of the Handbook of Economic Sociology economics and this, together with other developments, (Smelser/Swedberg 1994:4) included a table which com- has brought economics closer to economic sociology. pared “economic sociology” and “main-stream econom- ics,” which is not to be found in the second edition (Smel- Another point, which is often missed, is the impact of the ser/Swedberg 2005). Though the deletion of this table was increase in computational power that the introduction of due to limited space, one can also see it as an indication of computers has had on everyday economic research. The a gradual shift within economic sociology over this pe- ease by which very large data materials can be analyzed riod.2 has definitely shifted mainstream economics away from “pure theory” toward testing of theories with more of a That economic sociology, as economic anthropology, was premium being placed on unique data sets, often collected defined in relation to economics is perhaps natural since by the analyst. -
1 What Follows Is a List of Films That Are
Telephone: 416.769.3320 Email: [email protected] Web: www.proactroslab.com What follows is a list of films that are essential for professional actors to have seen THIS IS A LIST FOR ACTORS ONLY 2001: A Space Odyssey (1968) The Bridge on the River Kwai (1957) A Clockwork Orange (1971) Bringing up Baby (1938) A Beautiful Mind (2001) Boyz N the Hood (1991) A Star is Born (1954) Broadcast News (1987) A Streetcar Named Desire (1951) Bus Stop (1956) The Accused (1988) Butch Cassidy and the Sundance Kid (1969) Ace in the Hole (1951) The Caine Mutiny (1954) Adam's Rib (1950) Carrie (1976) Adaptation (2002) Casablanca (1943) African Queen (1951) Cat on a Hot Tin Roof (1958) All About Eve (1950) Chinatown (1974) All Quiet on the Western Front (1929) Citizen Kane (1941) Almost Famous (2000) City Lights (1930) Alfie (1966) Close Encounters of the Third Kind (1977) American Beauty (1999) The Conversation (1974) American Graffiti (1973) Dances with Wolves (1990) Amadeus (1984) Days of Heaven (1978) Annie Hall (1977) Das Boot (1982) All Quiet on the Western Front (1929) Dead Man Walking (1995) Apocalypse Now (1979) Death of a Salesman (1951) The Asphalt Jungle (1950) Deer Hunter (1978) Atlantic City (1981) Diner (1982) Bad Day at Bad Rock (1955) Dinner at Eight (1933) Barton Fink (1991) Dirty Harry (1971) Basic Instinct (1992) Do the Right Thing (1989) Ben-Hur (1959) Doctor Zhivago (1965) Being John Malcovich (1999) Dog Day Afternoon (1975) The Big Carnival/Ace in the Hole (1951) Double Indemnity (1944) The Big Chill (1983) Dr. -
Common Knowledge
Common Knowledge Milena Scaccia December 15, 2008 Abstract In a game, an item of information is considered common knowledge if all players know it, and all players know that they know it, and all players know that they know that they know it, ad infinitum. We investigate how the information structure of a game can affect equilibrium and explore how common knowledge can be approximated by Monderer and Samet’s notion of common belief in the case it cannot be attained. 1 Introduction A proposition A is said to be common knowledge among a group of players if all players know A, and all players know that all players know A and all players know that all players know that all players know A, and so on ad infinitum. The definition itself raises questions as to whether common knowledge is actually attainable in real-world situations. Is it possible to apply this infinite recursion? There are situations in which common knowledge seems to be readily attainable. This happens in the case where all players share the same state space under the assumption that all players behave rationally. We will see an example of this in section 3 where we present the Centipede game. A public announcement to a group of players also makes an event A common knowledge among them [12]. In this case, the players ordinarily perceive the announcement of A, so A is implied simultaneously is each others’ presence. Thus A becomes common knowledge among the group of players. We observe this in the celebrated Muddy Foreheads game, a variant of an example originally presented by Littlewood (1953). -
NEW YORK FILM ACADEMY the Most Hands-On Intensive Programs in the World
NEW YORK FILM ACADEMY The Most Hands-On Intensive Programs in the World WWW.NYFA.EDU | +7-964-557-76-68 NEW YORK FILM ACADEMY The Most Hands-On Intensive Programs in the World WHAT MAKES US DIFFERENT? Our programs are based on the philosophy of “learning by doing”. Every curriculum stems from that belief. We offer an intensive, hands-on, total immersion approach to learning. WWW.NYFA.EDU | +7-964-557-76-68 NEW YORK FILM ACADEMY The Most Hands-On Intensive Programs in the World THE NEW YORK FILM ACADEMY PHILOSOPHY "A top quality professional education should be accessible to anyone with the talent, drive and ambition" • International school with programs all over the world and a diverse student population • Learn by doing from day one, by making your own projects in hands-on, intensive programs • Unparalleled programs in Filmmaking, Acting for Film, Photography, Documentary Filmmaking, Producing, Screenwriting, Cinematography, Broadcast Journalism, Musical Theatre, Game Design, 3D Animation WWW.NYFA.EDU | +7-964-557-76-68 NEW YORK FILM ACADEMY The Most Hands-On Intensive Programs in the World NEW YORK FILM ACADEMY STUDENTS 50% of our student body is international, representing more than 76 countries around the world. WWW.NYFA.EDU | +7-964-557-76-68 NEW YORK FILM ACADEMY The Most Hands-On Intensive Programs in the World THE NEW YORK FILM ACADEMY FACULTY All of our instructors are professionals who work in the industry as directors, actors, producers, cinematographers, screenwriters, editors, animators, etc. Our faculty hold MFAs from the -
Easy Rider and the Hollywood Renaissance
THE HOLLYWOOD RENAISSANCE DEFINED • Late-1960s to mid- to late-1970s • Also called “The New Hollywood” • Characterized by studio production/distribution of significant number of films seen as innovative in content and style • Social context of frequent social upheavals (Vietnam protests, civil rights movements, student protests on college campuses, assassination of political and civil rights figures) that led to wide-spread questioning of “American” values and identity. • Made by directors with film school training and thus familiarity with film technique, history styles and theory (Coppola, Malick, Milius, Scorsese, Schrader, Lucas, Spielberg) STYLE AND CONTENT OF HR FILMS • Alienation/rebellion of young that frequently ends in death or disillusionment • Frank depictions of sex, violence and drug use • Political and social critique • “It is possible, at the risk of some simplification, to divide the social context of the Hollywood Renaissance into two main currents. One . celebrates aspects of 1960s rebellion. The other explores or manifest elements of a darker mood in which alienation leads toward fear and disillusion” (Geoff King. New Hollywood Cinema: An Introduction. 18). • Narratives that incorporated some characteristics of art cinema • Handheld, moving camera • Jump cuts SELECTED FILMS • Alice Doesn’t Live Here Anymore (Scorsese • The Getaway (Peckinpah 1972) 1974) • The Godfather/The Godfather: Part II • Alice’s Restaurant (Penn 1969) (Coppola 1972/1974) • American Graffiti (Lucas 1974) • The Last Picture Show (Bogdanovich 1971) -
Minimax Regret and Deviations Form Nash Equilibrium
Minmax regret and deviations from Nash Equilibrium Michal Lewandowski∗ December 10, 2019 Abstract We build upon Goeree and Holt [American Economic Review, 91 (5) (2001), 1402-1422] and show that the departures from Nash Equilibrium predictions observed in their experiment on static games of complete in- formation can be explained by minimizing the maximum regret. Keywords: minmax regret, Nash equilibrium JEL Classification Numbers: C7 1 Introduction 1.1 Motivating examples Game theory predictions are sometimes counter-intuitive. Below, we give three examples. First, consider the traveler's dilemma game of Basu (1994). An airline loses two identical suitcases that belong to two different travelers. The airline worker talks to the travelers separately asking them to report the value of their case between $2 and $100. If both tell the same amount, each gets this amount. If one amount is smaller, then each of them will get this amount with either a bonus or a malus: the traveler who chose the smaller amount will get $2 extra; the other traveler will have to pay $2 penalty. Intuitively, reporting a value that is a little bit below $100 seems a good strategy in this game. This is so, because reporting high value gives you a chance of receiving large payoff without risking much { compared to reporting lower values the maximum possible loss is $4, i.e. the difference between getting the bonus and getting the malus. Bidding a little below instead of exactly $100 ∗Warsaw School of Economics, [email protected] Minmax regret strategies Michal Lewandowski Figure 1: Asymmetric matching pennies LR T 7; 0 0; 1 B 0; 1 1; 0 Figure 2: Choose an effort games Game A Game B LR LR T 2; 2 −3; 1 T 5; 5 0; 1 B 1; −3 1; 1 B 1; 0 1; 1 avoids choosing a strictly dominant action.