Narrative
Poetry sprung from our urge to mimic.
To learn gives pleasure.
Preserving.
Documenting.
The instinct of harmony.
Lampooners because comedy writers.
Epics, writers of tragedy.
Catharsis: The process.
Lampoon: Publicly criticize (someone or something), by using ridicule, irony or sarcasm.
Aristotle Poetic’s
Imitation of serious sections.
Presented with pleasurable accessories (rhythm & harmony).
Elements of pity & fear = catharsis
Plot: (combination of incidents) is most important because drama is action.
Characters: (moral qualities of the agents) are the 2nd most important as they reveal the moral purpose.
Diction: (composition of verbs) is the expression of thought in words.
Thought: (theme) consists of saying what can be said and what is appropriate (philosophy).
Melody: (song) is an element of pleasure.
Spectacle: (stage appearance) is the last consideration (poetic’s, I.VI).
Robert McKee
Story: Substance, Structure, Style and the Principles of Screenwriting
Story is about principles not rules.
A rule says “you must do it this way”.
Your work needn’t be modeled after the “well made” play.
Rather, it must be well made within the principles that shapes out art.
Anxious, inexperienced writers obey rules.
Rebellious, unschooled writers break rules, artists master the form.
All notions of paradigms and foolproof story models for commercial success are nonsense.
Despite trends, remakes, and sequels, when we survey the totality of Hollywood film, we find an astounding variety of story designs, but no prototype.
Tony Oursler
template/variant/friend/stranger
As part of a Digital Narrative module, our class went down and visited the most recent solo exhibition of New York based Artist, Tony Oursler in Edgware. The exhibition itself was the artist’s first in the UK for for a number of years and primarily revolves around his interest with the progression of identity techniques such as facial recognition technology.
In the exhibition, Oursler explores the possible ramifications of these tools increasing omnipresence in daily life, with the artist’s interest in the face as the main region of communication and identity, through features, movement and expression, being central to these works.
Each of the giant head bare the cage of marks associated with the different facial recognition systems, used by social media sites, law enforcement and now even on dating sites to get you a ‘perfect match’.
Oursler also made a point of positioning all the heads towards each other, to give the impression they were conversing.
With all these systems and all this data collection, we are all building and updating our own invisible electronic profiles almost daily.
As for the rest of the exhibition, Oursler filled the other rooms with Nine wall-hung, stainless steel panels containing traces of now further abstracted facial features. The latticeworks are used to recognize people, transposed here into etched silhouettes constituting the altered identities we are increasingly forced to assume by the strictures of modern life.