Short-Animation-Project

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We are going William Kentridge to watch 3 https://www.youtube.com/watch?v=5_UphwA short-ish! fjhk animations The Matrix https://www.youtube.com/watch?v=UocF4ycB nYE The Post-it https://www.youtube.com/watch?v=6wZ9TYN ADWk Narrative means - the Story. What story are you going to tell? The Seven Basic Plots by Christopher Booker He suggests there are only really 7 stories – which are told over and over! The Seven Basic Plots WALKING DEAD Beowulf, Dracula, War of the Worlds, Nicholas Nickleby, The Guns of Navarone, James Bond, and Star Wars. 1 Overcoming the Monster Cinderella, Aladdin, Great Expectations and 2 Rags to Riches David Copperfield. King Solomon's Mines, Watership Down, The 3 The Quest Wizard of Oz and The Lord of the Rings. 4 Voyage and Return Alice in Wonderland, Goldilocks and the Three Bears, The Time Machine, Peter Rabbit and 5 Comedy Gone with the Wind. 6 Tragedy A Midsummer Night's Dream, Much Ado About Nothing, Twelfth Night, Bridget Jones Diary, 7 Rebirth Four Weddings and a Funeral and Mr Bean. Macbeth, Bonnie and Clyde, Romeo and Juliet, and Titanic. Sleeping Beauty, The Frog Prince, Beauty and the Beast, The Snow Queen, A Christmas Carol, The Secret Garden, and Despicable Me The Seven Basic Plots 1 Overcoming the Monster 2 Rags to Riches 3 The Quest 4 Voyage and Return 5 Comedy 6 Tragedy 7 Rebirth What plots do you think these films would come under? YOUR TEAM People involved: The camera/video operator The director The editor The designer/animators Lighting Scenery 1. Are there interesting characters? Yes / No - Helpful comment ………………………………………………………………. Rate Our 2. Is there a good plot? ANIMATION Yes / No - Helpful comment ………………………………………………………………. 3. Is there a clear START – MIDDLE- END? Yes / No - Helpful comment ………………………………………………………………. 4. How many rotten tomatoes ratings would you give this animation? RUBBISH BRILLIANT OK BUT GOOD LACKS WHERE CAN I COULD BE MOVIE CANT WAIT PLOT BUY BETTER TO SEE THE MOVIE THE NEXT ONE MERCHANDISE .

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The Seven Pillars of Storytelling
BOOKS The Seven Pillars of Storytelling Ffion Lindsay Copyright © 2015 Sparkol All rights reserved Published by: Sparkol Books Published: December 2015 Illustrations: Ben Binney Sparkol Books Bristol, UK http://sparkol.com/books Keep this book free We’ve written this book to help you engage your audience through storytelling. Sharing it with just one other person spreads the word and helps us to keep it free. Thank you for clicking. Tweet Facebook G+ Pin it Scoop it LinkedIn Foreword If I were an architect designing a building I would look to nature – to the great creator, to God, if you like – for structures and principles, for design and style, for strength and beauty and for methods that have evolved over time. As communicators, we can do the same. In this book reams of theory has been distilled into practical, simple tools for understanding and applying the power of story. Ever thought why as evolved beings we don’t have more useful dreams at night? Why no one dreams in bullet points? Why the film industry is so large? Or why the gaming industry – which loves narrative based games – is even larger? Why we paint the day in stories, not facts, when we come home to our families? In the Middle East, centuries ago, a bearded man, a familiar boy who’d grown and looked like any other, trained in his father’s humble profession, stepped out on to a mountain and delivered simple stories that have been repeated ever since. Jesus, for me the most effective communicator there ever was, used parables.
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The Seven Basic Plots Overcoming the Monster the Main Character
The Seven Basic Plots Many stories fit neatly into one of these plot frameworks. In the same way that some books don’t fall neatly into one genre category, there are also many stories that include elements from different basic plot lines. It is useful for children to be aware of the different shapes a story can take to help their understanding and enjoyment when reading a story and also to support their own writing. Overcoming the Monster The main character sets out to defeat an enemy which is a threat to the main character and/or their homeland. e.g.: Greek myths such as Perseus and Theseus, Beowulf, Dracula, War of the Worlds, Nicholas Nickleby, James Bond, Star Wars, Harry Potter, Shrek, Jaws and The Hunger Games, Rags to Riches The poor hero/ine suffers hardship before ending up with power, wealth, and a happily ever after ending. e.g.: Cinderella, Aladdin, Jane Eyre, A Little Princess, Great Expectations, Oliver Twist, David Copperfield, The Prince and the Pauper The Quest The hero and some companions set out to find an important object or to get to a location, facing many obstacles and temptations along the way. e.g.: Iliad, Watership Down, The Lord of the Rings, Harry Potter, The Land Before Time, Indiana Jones, The Voyage of the Dawn Treader Voyage and Return The hero goes to a strange land and, after overcoming the threats it poses to him or her, returns with experience. e.g.: Odyssey, Alice in Wonderland, Goldilocks and the Three Bears, Peter Rabbit, The Hobbit, Chronicles of Narnia, Labyrinth, Finding Nemo, Gulliver's Travels, Apollo 13, The Wizard of Oz Comedy Light and humorous character with a happy or cheerful ending; a story in which the central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion.There is usually a conflict that becomes more and more confusing, but is at last made plain in a single event, often a wedding.
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QUT Digital Repository
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive QUT Digital Repository: http://eprints.qut.edu.au/ Hartley, John (2008) YouTube, digital literacy and the growth of knowledge. In: Media, Communication and Humanity Conference 2008 at LSE, 21-23 September 2008, London. © Copyright 2008 [please consult the author] YOUTUBE, DIGITAL LITERACY AND THE GROWTH OF KNOWLEDGE JOHN HARTLEY QUEENSLAND UNIVERSITY OF TECHNOLOGY, AUSTRALIA1 A version of this paper is to be published in Jean Burgess and Joshua Green (2008) YouTube: Online Video and Participatory Culture. Cambridge: Polity Press; and in John Hartley (2009) The Uses of Digital Literacy. St. Lucia: University of Queensland Press. Abstract Social-network enterprises and all manner of user-created content from blogs to Wikipedia, are examples of self-expression within a community that is in principle species-wide. As broadband speed and bandwidth increase to acceptable levels for video, television is renewing itself in the context of these services, which are individual, interactive and international. The first popular internet television venture has been YouTube, whose slogan ‘Broadcast yourself’ neatly captures the difference between old-style TV and new. YouTube massively scales up both the number of people publishing TV ‘content’ and the number of videos available to be watched. However, few of the videos are ‘stories’ as traditionally understood; and the best of those that are, for instance lonleygirl15, pretend to be something else in order to conform to the conventions of dialogic social networks. In other words, YouTube does not exhaust the possibilities either for digital storytelling or for self-expression television.
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The Seven Basic Plots
CHAPTER ONE The Seven Basic Plots “I create fiction to tell the truth.” EXUDORA WELTY A woman went to see the Governor about getting her husband out of the penitentiary. “What is he in for?” the Governor wanted to know. “For stealing a ham.” “That doesn’t sound too bad. Is he a good worker?” “No, I wouldn’t say that. He’s pretty lazy.” “Oh. Well, he’s good to you and the children, isn’t he?” “No, he’s not. He’s pretty mean to us, if you want to know the truth.” “Why would you want a man like that out of prison?” “Well, Governor, we’re out of ham.” That was to get your attention. How about these two: Tanzan and Ekido were once traveling together down a muddy road. A heavy rain was still falling. Coming around a bend, 9 10 Touching the Heart they met a lovely girl in a silk kimono and sash, unable to cross the intersection. “Come on, girl,” said Tanzan at once. Lifting her in his arms, he carried her over the mud. Ekido did not speak again until that night when they reached a lodging temple. Then he could no longer restrain himself. “We monks don’t go near females,” he told Tanzan, “especially not young and lovely ones. It is dangerous. Why did you do that?” “I left the girl there,” said Tanzan. “Are you still carrying her?” How about this one from that irreverent and crude Jewish comedian, Lenny Bruce: You and I know what a Jew is—One Who Killed Our Lord.
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Choose a Narrative Structure
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