By Robert Mckee
Partiendo de conceptos básicos (¿qué es una escena?, ¿qué es una secuencia?, ¿cómo lograr el clímax de un acto?, ¿cómo lograr el clímax de una película?) McKee muestra el misterio de las estructuras, explica las características de cada género, outline l. a. importancia de los angeles ambientación, los angeles diferencia entre l. a. caracterización y los angeles realidad de un personaje, en suma, todo aquello que hace que un guión destaque por encima de los demás. Ilustrado con muestras de guiones clásicos (Casablanca, Chinatown, etc.), McKee analiza cómo está construida cada escena para que funcione y, lo que es más importante, por qué funciona.Por su profunda comprensión de los mecanismos que mueven las historias y su unique método de enfocar l. a. redacción de guiones, El guión constituye una herramienta imprescindible para todo aquel que quiera llevar una notion a los angeles pantalla. .
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Extra resources for El guión
Example text
Second, 1970s film theory placed enormous emphasis on the representational strategies of film, resulting in a kind of textual idealism, or what Barbara Klinger has called a “textual-centric consideration of the cinema/ideology relation” (1984:41). While the cinematic institution was described in 1970s film theory as complex, the tendency nonetheless was to focus on what happens inside the movie theater between spectator and screen, and (particularly in textual analysis) to analyze the components of cinematic signification.
An apparatus the spectator has behind him, at the back of his head, that is, precisely where phantasy locates the “focus” of all vision.
The theoretical work of the 1970s was enormously important in demonstrating the systematic ways in which cinema was ideological. But despite the usual qualifier that the object of inquiry was the classical, narrative cinema, it was difficult to see how any cinema could be conceived outside of those paradigms, particularly since the arguments were based on the technological organization of the medium. Laura Mulvey, in her classic essay, “Visual Pleasure and Narrative 40 SPECTATORSHIP AS INSTITUTION Cinema,” shares the assumptions of theory’s explanatory power and the particular symbolic status of the cinema that character-ize 1970s film theory (1975).