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The functional relationship between laughter, thrills and suspense in the comedy thriller screenplay: an inquiry into the writing of the comedy thriller

机译:喜剧惊悚片剧中的笑声,刺激和悬念之间的功能关系:对喜剧惊悚片写作的探究

摘要

It is the aim of this study to inform the writing of a feature film screenplay that will blend the two film genres of comedy and thriller. In order to accomplish this, I examine the way both comedy and thriller genres achieve their specific aims. Though theorists have investigated the principles, conventions and techniques employed in the thriller and its many sub-genres, few have examined the blended comedy thriller genre beyond identifying it as a problematic form of the thriller. The lack of specific critical analysis of the comedy thriller genre represents a gap in the literature which I have attempted to fill. Comedy thriller films are considered by many to be difficult to write. According to John Truby, the comedy thriller is problematic because ‘the comedy element sits uncomfortably with the tone required to generate chills and thrills’ (Truby, 2010).The screenwriter’s problem lies in the attempt to blend two contrasting audience states. Why do audiences laugh at a character’s pain in a comedy and yet flinch from it in a thriller? In this study I examine the bodies of knowledge fundamental to the writing of a comedy thriller screenplay. These include the discipline areas of screenwriting, genre, psychology and theatre and performance. I also observe psychoanalytic theories that underpin the writer’s attempt to generate audience laughter and suspense thrills. The outcomes of this study are a set of principles, conventions and techniques which may assist the screenwriter in blending the two genres of comedy and thriller without sacrificing the key emotional mandates of either - laughter and suspense. The insights gained from this study informed the writing of my own comedy thriller screenplay, Project Daybreak. My findings may also be useful to writers of theatre and popular literature who wish to explore the combining of dissimilar audience emotions in their creative works.
机译:这项研究的目的是为一部故事片编剧提供参考,该剧本将融合喜剧和惊悚片这两种电影类型。为了实现这一目标,我研究了喜剧和惊悚片两种实现其特定目标的方式。尽管理论家已经研究了惊悚片及其许多子流派的原理,惯例和技术,但很少有人研究混合喜剧惊悚片的类型,而不是将其视为有问题的惊悚形式。缺少对喜剧惊悚片类型的特定批判分析,这代表了我试图填补的文献中的空白。许多人认为喜剧惊悚片很难写。根据约翰·特鲁比(John Truby)的观点,喜剧惊悚片是有问题的,因为“喜剧元素与让人发冷颤抖所需的语气不协调”(特鲁比,2010年)。编剧的问题在于,试图融合两种截然不同的观众状态。为什么观众会在喜剧中嘲笑角色的痛苦而又在惊悚片中退缩呢?在这项研究中,我研究了喜剧惊悚剧本写作所必需的知识体系。这些领域包括编剧,体裁,心理学,戏剧和表演等学科领域。我还观察了心理分析理论,这些理论支撑了作者试图引起观众笑声和悬念刺激的尝试。这项研究的结果是一套原则,惯例和技术,可以帮助编剧融合喜剧和惊悚片这两种类型,而又不影响笑和悬念这两个关键的情感要求。从这项研究中获得的见识为我自己的喜剧惊悚剧本《破晓计划》的撰写提供了参考。我的发现对于希望探索在创作中融合不同观众情感的戏剧和流行文学作家也可能有用。

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    Rendell A;

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  • 年度 2013
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  • 入库时间 2022-08-20 21:55:59

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