Writing the short film 3th - Part 21. Cuốn sách này chủ yếu giúp tham khảo về phương pháp viết kịch bản, phim ảnh, video và các nhà làm phim video - những người đang phải đối mặt với sự cần thiết của việc viết một kịch bản tường thuật ngắn sao cho hay, mạch lạc, nội dung phim được truyền tải hết đến người xem. | 130 Writing the Short Film view. In John Osborne s screenplay of Tom Jones the main character is generally a conventional first-person main character but occasionally becomes a second-person main character at those moments he turns directly to the screen and addresses the audience. The same technique of using the main character to narrate is found in Stanley Kubrick s A Clockwork Orange. Whether it is a direct onscreen second-person appeal to the audience or the use of the main character as an offscreen narrator the result is to alter our relationship with the main character from one of involvement to one where we step out of the relationship and reflect upon it. This distancing device serves to generate empathy for Alex in A Clockwork In Tom Jones however the technique does nothing but draw attention to itself. In this sense the Brechtian device of alienating us from the character in order to reflect upon the subtextual political or social commentary does not work. It is a style that is counterproductive to the dramatic elements of the story much as the third-person position is. The second-person position then is a risk for the writer. The danger is that the writer can fracture our relationship with the story. The gain can be that the writer succeeds in commenting upon the character his or her behavior and his or her view of society. The best approach to the main character is to use the first-person position in which the character is in the middle of the story. Events happen to the character. Barriers exist in the story that challenge the character s goals. In this classical situation the position of the character best serves the narrative purpose of the film script and the writer can take advantage of the mechanics of conflict polarities and a rising action in order to engage the viewer most effectively in the screen story. The Main Character and Secondary Characters The main character s position in the story is only one issue of positioning you will .
