Makes viewers think about the fragility of our little world, lost in the vastness of the universe. So, for example, in the program “Consequences. Population Zero”, the creators modeled the changes that will take place on our planet after a day, a year, a century, etc. after the disappearance of mankind. This is a film about how nature will erase the evidence of our stay on Earth.
In the absence of humans, the next ice age will begin in 25,000 years.
Millennia later, traces of human presence will remain only on the moon.
It took humanity 10,000 years to cut down half of the forests, but they will be reborn 500 years after we disappeared.
In one hour, the Earth rotates 1600 km along the equatorial line, and the rotation speed gradually slows down by 2 seconds in 100,000 years. The creators of the film “Consequences: When the Earth Stops Spinning” offer viewers to see what will happen to our planet and to us if it stops rotating completely in 5 years.
120 days later, the length of a day will be 27 hours and 48 minutes. Earthquakes will occur all over the planet.
In 4 years there will be 620 hours in a day. Hurricanes will intensify. Two huge oceans are formed.
In 5 years the oceans will be covered with ice caps that do not melt all year round. 6.5 billion earthlings are dying. 5 days will last 1 year.
What will the world look like when oil suddenly runs out? What will happen when our Sun runs out of hydrogen "fuel"? What will life on Earth turn into if its population doubles? These and other questions will be answered by the series of programs “Consequences”.
"Ecology" (Germany)
The ecological state of our planet is deteriorating every year. There is less and less fresh water left on earth, and the water that is still available is already of very poor quality. In some countries the quality drinking water, which flows from a water tap, does not even meet the requirements for bathing water. The same thing happens with the air we breathe. Many cities are covered with industrial fog or smog, which is incredibly dangerous for. Forests are cut down, deserts appear in their place, animals are either shot back or die from environmental consequences. Environmental disaster is not a problem of a single city or country, it is a problem of the entire globe. The scientific and educational television show "Ecology" will be of interest to adults and children - to everyone who is not indifferent to the fate of our planet.
“Stories from the future. Ecology” (Russia, St. Petersburg)
In the program “Stories from the Future”, which is going on the air, host Mikhail Kovalchuk, director of the Kurchatov Institute, talks about the problems modern science with leading scientists of the country, researchers and experts. In an accessible language, viewers are told about nanotechnologies, genetic engineering, development nuclear industry and, of course, the environment.
“We cannot wait for favors from nature, it is our task to take them from her!” Modern biologists no longer support their colleague Ivan Michurin. Today it is obvious to everyone that the predatory plunder of natural resources and gross violation ecological balance turn into all sorts of troubles.
Uncontrolled emissions into the atmosphere, in addition to, in fact, air pollution, provoke acid precipitation, which affects not only all life on the surface of the earth, but also man-made things: buildings and structures.
Generous fertilization of fields with phosphates and nitrates leads to the ingress of large portions of phosphorus and nitrogen into the reservoirs closest to the fields. This dramatically accelerates the processes of eutrophication - flowering and overgrowing of a reservoir, from which fish and other aquatic organisms die.
But without fertilizer it is impossible to feed the growing population of the Earth. The choice between famine and ecological catastrophe will be a bad one anyway. Therefore, scientists are now waiting for an alternative way out of this situation. For one of the shows, Michali Kovalchuk invited Tatyana Moiseenko, Doctor of Biological Sciences, Corresponding Member of the Russian Academy of Sciences, to the studio. The guest revealed the foundations of the theory of critical loads, which, in her opinion, provides the most optimal way to control harmful effects on the environment.
"Ecology and Man" (Russia, St. Petersburg)
Host of the program "Ecology and Man" Semyon Mikhailovich Gordyshevsky - Chairman of the Board of the St. Petersburg Ecological Union, public organization founded in 1991. St. Petersburg Ecological Union is engaged in environmental education and promotes the expansion of production and consumption
environmentally friendly products. The mission of the Ecological Union is to reduce the burden on the environment. According to Gordyshevsky, residents of such large cities as Moscow and St. Petersburg are on the verge of mutations, and the environmental situation, including construction waste incinerators. Today in Russia it is observed in St. Petersburg, then comes Moscow. Over the past six years, the number of cases has increased by 11%. In general, in Russia there are 4,300 cancer patients per 100 thousand people, in St. Petersburg this figure is 4,798 people. However, scientists are especially concerned about the growth of congenital anomalies. According to Gordyshevsky, over the past five years it has amounted to 12.8%.
“Perhaps, after some time, completely the new kind will write that dinosaurs existed, but they died out, then mammoths, and they also disappeared, then humanity, which destroyed itself. Now we are in a situation where it is generally difficult to imagine what awaits us next.
The program "Ecology and Man" goes on the air on the St. Petersburg TV channel "HERE!". Scientists, doctors, environmentalists, prominent public figures, and journalists answer questions and viewers live. So, the guests of the transfer to different time were Chief Editor newspaper "Society and Ecology" Sergey Lisovsky, doctor medical sciences Igor Merkushev, Professor and Honored Ecologist of Russia Oleg Rusak and many others. The range of topics discussed in the program is extremely wide: from the impact of technogenic and anthropogenic pressure on ecosystems to the results of the sixth International Nevsky Ecological Congress.
"Environmental Patrol" (Russia, Tyumen)
"Ecological Patrol" or "Ecology Lesson" - a series of television programs created in order to form an ecological culture of the population. The cycle was timed to coincide with the year of protection environment announced by decree in 2013. The cycle consists of four 15-minute films: "Environmental Education", "Specially Protected natural areas”, “Red Book” and “Waste”. Videos posted on the organ portal state power Tyumen region.
Ecological Bulletin (Russia, JAO)
The purpose of the program "Ecological Bulletin" - news and promotion of environmental knowledge among the inhabitants of the Jewish Autonomous Region, a story about the activities of public environmental organizations, industrial safety. After the broadcast on the STS-Birobidzhan TV channel, all episodes are posted on YouTube and social networks.
The script is not the initial, but an intermediate stage of work on a television project. It completes the preparatory part (acquaintance with the material, its selection, formulation of the topic) and at the same time is the beginning of a new period - filming.
There are various options for starting work on the literary basis of the transmission. The theme can be proposed by the editors, firms, producers interested in its development. Sometimes the author himself comes to the studio with his own idea, which excites him and, in his opinion, will be of interest to the viewer.
The practice of television production dictates the need to formulate an idea and formalize it in the form of a literary application even at an early stage of work on a program. An application is an established idea. It solves two problems: it develops the idea and helps to get in touch with the editors, with production, as it is legal document and serves as the basis for concluding a contract for writing a script. Usually, an application arises at the stage when the playwright has chosen a topic, understood the problem, knows the main characters, filming locations; he imagines the principle of compositional solution, the genre, even individual episodes of the future message. By the time the application is created, the author must clearly know what he wants to tell the viewer. After all, the application should convince immediately, from the first reading.
The form and volume of the application are not regulated. It depends on the manner of the playwright, on specific features the idea, as well as how familiar the studio is with this author, how much they trust him. The application may contain individual episodes of the future script, sometimes - the background of the work with an explanation of what exactly attracted the author to this topic, as well as a story on behalf of the author, the hero himself or several heroes, etc.
Decor literary script a modern television program is enough standard form, which differs little from the script of a feature or documentary film, commercial: description of the place of action, the action itself, dialogues, a brief description of participants of the program, description of the interior, etc.
Today, they no longer draw up the script, dividing the page into two parts, and placing on both sides the video sequence and texts of the hosts, heroes, characters ...
3.1. Basic literature.
1. Saruhanov V. A. Dramaturgy of television, or was there a word first? - St. Petersburg: World Word, 2005. - 480 p.
2.Walter R. Screenwriting: film and television dramaturgy as an art, craft and business. – M.: 1993.
3.Frumkin G.M. Screenwriting skill. Tutorial. - M.: Academic project - Alma Mater, 2011.
3.2. Additional literature to the section "Dramaturgy of informational, educational and entertaining TV program".
1. Barabash N. A. Television and theater: games of postmodernism. – M.: URSS, KomKniga, 2010.
2. Vilchek V. Under the sign of TV. – M.: 1987.
3. Dondurei D. Entertainment TV: jokes aside // Television: directing reality / Comp. D. Dondurei. - M .: The art of cinema. – 2007.
4. Egorov VV Television: theory and practice. – M.: 2001.
5. Zvereva V. V. “Real life” on TV: Research of modern media culture. - M.: RGGU, 2012. - 224 p.
6. Zorkaya N. M. Variety star on the TV screen. TV stage. – M.: Art, 1981.
7. Ilchenko S. N. Domestic television broadcasting of the post-Soviet period: history, problems, prospects. - St. Petersburg: IVESEP - Knowledge, 2008.
8. Kopylova R. D. Open screen: Television spectacle and dialogue. - St. Petersburg: RIIII, 1992.
9. Nechay O. F. Perspectives: On television communication and aesthetics. – M.: Art, 2003.
10. Pronin A. How to write a good script. - St. Petersburg: Azbuka-klassika, 2009. - 288 p.
11. Nechay O. Television as an artistic system. – Minsk: 1981.
12. Sappak Vl. Television and us. Four conversations. – M.: Art, 1988.
13. Television: directing reality. Comp. D. Dondurey. - M .: Art of cinema, 2007.
Rules for the design of a TV script
Annex 1. Title page *
* Frame is optional
1. Scenario is a form of literary work. A screenwriter in a movie must have the mindset of a cinematographer and remain a writer and playwright.
Literary screenplay- a finished film dramaturgical work containing a conceptual and compositional solution for the future film, the development of scenes and episodes with accurate dialogues, an indication of the place and time of the action, and an approximate indication of the footage.
Requirements for scripts in form and content.
2.1. The following must be attached to the script:
Theme, problem, idea, main conflict of the work, through action, counteraction, brief description of the main characters.
Compositional analysis: exposition, plot, development of action, climax, denouement, finale.
2.2. The script must be written in a highly artistic literary language, without spelling and punctuation errors.
2.3. The script must meet the moral, ethical, creative, production and technical capabilities of TV and cinema, and must not contain scenes of pathological violence, pornography, or obscene language.
FRONT PAGE
On the first, title page of A4 format, it is indicated educational institution, faculty, department. IN THE MIDDLE in the center is written the genre and the name of the script. If this is a screenshot, then title page It is MANDATORY to indicate the title of the adapted work, the name and surname of its author. Below is the city and year.
FONT
On the second page and beyond is the script itself. Font Courier, 14 pt, spacing 1, margins - all 2 cm. No bold or italic words are allowed in the script, except for the title and genre. The screenplay should not contain inserts, inserts, author's notes and corrections with a pen or pencil.
INTERVALS AND INDITIONS
Everything that is sequentially written in the script - scene descriptions, titles, dialogues, etc. - is ALWAYS written at ONE interval.
There are NO paragraph indents in a professional script recording. Script text must be justified.
DIALOGUE
Dialogue follows immediately after the character's name. Dialogue is written ONLY in lowercase letters. Dialogue is what the characters say. Aspiring screenwriters often write too long dialogue for their characters. It is worth remembering that clear, concise dialogue is what a script, producer, director (and teacher...) needs.
REMARKS
They are placed when you want to show in the text exactly HOW the character says his line. Remarks are ALWAYS written with lower case. They should be used extremely rarely for two reasons. Firstly, the actor/director absolutely does not want the screenwriter to go into their profession and tell them HOW to say/act the dialogue. Second, and more importantly, if the dialogue is well-written and emotionally written, then there won't be much need to show HOW to read the text. However, if remarks are so necessary, they are placed after the character's name before the dialogue.
"Holiday TV"
introduction leader
Orchestra "Mazurka"
Student 1:
March from the first
Spring begins
Mother's Day - March 8th -
The whole country celebrates.
Student 2:
And although there are frosts,
And snowdrifts under the window,
But fluffy mimosa
Selling all around.
Student 3
: Drops of sunlight
Splashes of sunny summer
We are taking it to the house today.
We give to grandmother and mother,
All.
Happy Women's Day!
Chorus "Mom - the first word"
Student 4:
Today is a spring and holiday day,
Drops play loudly outside the windows.
We start mother's holiday
And turn on your TV.track 1
Speaker:
Hello dear viewers.
I hope you recognize me.
We are glad to welcome you
On our holiday channel.
The song "Hello, my homeland" sounds for you
D.: The first program "Spring" for a sunny mood. track 2
We have talents
Pianists are musicians!
Magical sounds of music
Everyone admires them
And just listen to music
We really, really like it!
(Student) "Spring"
D .: How Anton played under the hill under the mountain in the spring. (Student) "Like under a hill"
Student 5:
Spring has come again, and the birds are singing,
And I can't sit at home anymore.
Student 6:
Girl, you are right and I agree with you.
When spring is around, it’s wonderful in the soul.
Student 5:
We will warm our sides under the spring sun,
I will perform the play with a great mood.(Student) "Spring"
track 3
D.: Next program
Dedicated to the military.
«
I serve my Fatherland,
-
The program is called.
Our program is about those whom we are proud to call defenders of the Fatherland. You will learn details about the harsh everyday life and rare holidays of the defenders of the Motherland.(Student) "I was driving from Berlin"
(Student) "March"
D.: Three girls were spinning fiberglass under the window ... Oh, sorry, nonsense, I’m talking in the wrong direction, now the girls themselves will tell what they were doing under the window.Scene, grade 3 track4
Vedas: Three girls under the window were dreaming in the evening ...
1 girl: I wish I could get married as soon as possible, I’m tired of being girls!
2 girl: I wouldn’t marry just anyone!
3 girl: I would go for a businessman, like a stone wall!
My mother would love a son-in-law, but where can I get such a thing?
1 girl: Well, I would certainly marry a sailor! And while he was swimming in the sea, I would live without knowing grief!
2 girl: There are no sailors now, it's just a rarity!
That would be to marry the military - strong, extraordinary!
I would be happy with a guy strong as a rock.
3rd girl: We were dreaming, girls ... All the guys were crushed,
They would lie on the couch and enjoy football!
Vedas: Oh, this youth, all of you are unbearable to get married!
May I get into the conversation? I know where the guys are!
Not one, not two, not three...
Girls (in chorus): Where is it!? Speak!!!
Vedas. (points to the men sitting in the hall): Look here: there are guys anywhere!
Not warriors - so what? Each stately and good!
One per sister...
1 girl (runs up to one): Chur, I take this!
2 girl (runs up to another): I liked this one!
3 girl (to the third): This one smiled at me!
Girls (together): All the guys are good, just a holiday for the soul!
D.: Live on our channel...
Heroes of the Red Army are riding across the field! "Polyushko-field" ans.
Track 5
D.: On the air is a sensual weather forecast for today. At our evening, the high temperature regime of good mood and bright smiles. A cyclone is coming positive emotions. A southerly wind of pleasant memories is possible, rainfall is expected in the form of tears from the joy of meeting. Weather forecast sponsor our open hearts. And quite recently, winter left us, and we remember it, either jokingly or seriously.(Student) . "If there was no winter"
D.: And now without talking
Let's give the floor to the choir.track 6
Pupil 7 : Let's sing a song for mom
She calls and pours,
Let mom have fun
Let mom smile!
Choir "Why does the bear sleep in winter"
Track 7
D.: And on the children's channel a little fairy tale ...(Student) "A little fairy tale."
D.: In one small kingdom, a little princess lived in a beautiful castle. She woke up in the morning, and washed herself with dew from flowers, drank nectar, which the elves prepared for her from pollen and honey. A whole orchestra of grasshoppers chirped unusual music for her, and the princess, along with the birds, learned songs. She listened to the whisper of the wind and basked in the gentle golden rays of the sun, and when night fell, the stars were for her instead of a night lamp.(Student) « Little Princess" ans.
D.: As you may have guessed, our little princess dreamed of a prince. Several years passed and the princess met the beautiful little prince. TOWhen a warm spring came, the prince came and took the princess to a distant kingdom.And they began to live happily ...X op "The Little Prince"
D.: My dear viewers, I know that you all love fairy tales. Moms and grandmothers, you have often had to lull small children and read interesting stories for them. And today our hero himself will tell you a fairy tale.(Student). "Suite"
(Student) "Lullaby"
track 8
D.:
This transmission
Of course, everyone knows.
It is called:
"While everyone is at home."
At home, our mood often changes.(Student) "Mood"
Track 9
D.: Live sports news. The Winter Olympic Games in Sochi will soon take place, and in the summer of 2012 the 30th Olympic Games in London were held. Among all sports, the most interesting was equestrian sport, which was included in the summer program for the first time.V. And now both adults and children are fond of riding horses.(Student) "Bold Rider"
Track 10
D.: INfrom already 25 years on the first channel,
Play, accordion, my love.
The program travels and shows different, unique corners of Russia, an amazing variety of talents, costumes. The character of our program will perform a polka for you today.(Student) "Polka"
D.: In whatever corner of Russia we would not come, we are always met with Russian ditties.(Student) "Russian ditty"
D.: Now let's make way for a joke
We can't live without her
It's better with her in difficult times,
Why don't we joke?
"Neznaikin and his friends" 1 class.
The teacher enters
pointer
, sitting at a desk: Neznaikin (spinning, spinning), Znaikin (sitting seriously), Shurupchik (with
pliers
, repairing something), Sineglazka (
sitting, writing a letter, crying
), Donut (
eating).
TABLE and 5 CHAIRS
Teacher.
Dunno! Go out and write on the board the letter designation of the key in A minor.
Dunno comes out, spins, waits for clues, leans on the teacher.
Teacher.
Do not you know? What are you relying on me for? Well, speak! Um... Um... Um...
All.
Bon appetit!
Teacher.
Who said that I want to eat? Sit down, Neznaikin, it's bad.
Neznaykin.
I taught but forgot!
Znaykin.
This is, a mole, a teacher!
Teacher.
That's right, Znaikin, well done!
Donut
(after having eaten a bun).
Teacher, can I go out?
Teacher.
For what?
Donut.
I'll buy another bun.
Teacher.
Enough of you, you're already fat. Znaikin, how many years will our Earth live?
Znaykin.
I don't know, but the forecasts are good.
Teacher.
Blue-eyed, why are you so sad?
Sineglazka.
I wrote a letter to Kirkorov, I'm waiting for an answer!
Neznaykin.
She fell in love with him.
Sineglazka.
And who else, not to fall in love with you. I wrote, but he does not answer.
Teacher.
Well, wait, wait, it's going to be a long wait! Screwdriver, what is ticking there all the time?
Screwdriver.
Yes, I ate the clock!
Teacher.
So why are we sitting, we must run to the doctor as soon as possible, get them.
Run away but come back
Track11
D.:
What are you back?
Teacher.
We were told to go there.
D.:
Well, then sing...
Teacher: What is a holiday without ditties?
(Student)
:
Put your ears on top
Because today is Women's Day.
And funny ditties
We are not too lazy to sing for you.Chastushki, 1 class,
Track 12
invited to visit us
We are grandmothers and mothers!
We promise, we promise
That you won't be bored! (Uh!)
- Christmas trees - pines
Prickly, green.
Even grandmothers in the spring
grandfathers in love.
- To get mom to work
The evil alarm clock did not wake up
I am to him tonight
Unscrewed three pieces.
- I walk with my mother by the hand,
I hold my mother tightly
So that mom is not afraid
So that she doesn't get lost.
To make mom surprised
We cooked dinner
For some reason even a cat
She ran away from the cutlets.
We love grandma
She is top notch!
Everything will tell and show
And always feed us!
D.: And we have an emergency message.
In the spring sky, in a beautiful dance,Two stars meet!(Student) "Kumparsita" Anse.
D.:
"Fashion Sentence" Track 13
Would you like to see?
Our stylists
We were able to succeed here.Dance, grade 3,
Track 14
Pupil 8 . : On this day, special honor to grandmothers,
On Women's Day, mom bakes a cake for grandmothers.
Well, we dance for our grandmother from the heart.
Know that you are very good for us!
Track 15
D.:
program"Gusto"
we begin
We invite cooks too.
Pupil 9 : I decided to cook compote on this spring day,
I took raisins, nuts, honey, a kilogram of jam.
I put everything in the pan, stirred it,
To make it tastier, I will not regret anything:
Two carrots, onion, banana, cucumber, a glass of flour,
Half a crackeradded to my compote.
Pupil 10 .: Everything was boiling, the steam was swirling, finally, the compote was cooked!
Mom took compote: - Happy Holidays, mommy!
Mom was very surprised, laughed, admired,
poured compote for her - let her try it soon.
Mom drank a little and coughed into her hand.
And then she said sadly:
Pupil 11 .: Miracle - cabbage soup! Thank you! Tasty!Dance "Povaryata" Grade 2, Track 16 (during the dance, children bring out treats for the audience)
D.: We continue to dance, congratulate our women.(Student) "Gypsy Dance"
Track 17
D.:
On the channelMuz TV
The stars are lit
And today these sounds
Dedicated to mothers.(Student) "Khutorok"
D.: I remember the waltz sound lovelyLate spring nightIt was sung by an unknown voice,And the song was wonderful.Yes, it was a charming, languid waltz,Yes, that was a marvelous waltz!(Student) "Forgotten Waltz"
D.: Advertising on the holiday channelTrack 18
A girl is washing clothes in a basin, next to Tide powder and Vanish bleach
- I have a big wash,
I'm not too lazy to wash clothes,
Tide I will pour into the water
and I wash the third day (sprinkles, erases),
Vanish - This is a miracle remedy (shows)
Stain powder is new.
I pour on the stain ....
That's all set
If, mother, you want
I'll wash yours too
Look how bleached
and how strong .. Oh-eeee (trying to show how strong, the fabric is torn) .
Track 19
D.: In transmissions to"Culture"
We don't hear squabbles
Musicians play here
Bassoon, drums.
We hear music in the hall
And in a small studio.
This holiday for you
There will be a prelude.(Student) "Prelude"
Track 20
D.: This program will glorify instantly
"Moment of glory" extraordinary
From the Tambov region we have here
(Student) will perform “Etude” for us
(Student) "Prelude"
Track 21
D.: Good evening, this is the news of the week, about the most important events and actions, my colleagues and I ... (name of presenter).
Track 22 Hello! Yes, this is holiday television... Of course, of course...Word to the President of the Russian Federation V.V. Putin
D.:
Transfers are completed
Our holiday is over.
Thanks for being
Today you are with us
At our festive
channel!
Pupil 12 : There is a mimosa on the table
On a good spring day.
Let all mothers on earth
They don't know grief.Choir "Mother's Song"
Script writing is one of the steps creative process creation of a publicity work. The script is a literary record of the pictorial and sound solution of the future on-screen message.
The script is the result of the author's complex, intense search, in which two moments closely interact: the journalist's study of reality and its mental embodiment in a future screen work.
The script is preliminary stage creative processing of the life material studied by the publicist, providing for the possibility of recreating the idea with the help of dramatic, plastic, montage and verbal means of expression. Thus, the script is a literary work of a special kind, it is a description of the future screen work. On-screen means of expressiveness was discussed in the previous chapter. The same one is devoted to the methods, techniques used when creating a script.
The screenwriter, like the prose writer, evoking visual representations in the reader, achieves this with the help of words - bright or gray, accurate or inaccurate. The most important factor determining the completeness of the imaginary picture is the skill of the screenwriter. The ability to express a thought in a word, to draw a picture is necessary for everyone who has devoted himself to the art of the word. It is also necessary for a journalist writing for the screen, where the obligatory vision of the elements of the future screen message - frames and their combinations - is an unshakable law.
A journalistic television program (and a film) begins and is determined by the literary, verbal basis - the script. Its form can be different - from a detailed "frame-by-frame" description of the visual sequence, accompanied by an announcer's text, to a scenario plan, a scenario message scheme, necessary for such genres as a conversation or interview.
On television studios, there are two forms of writing a script: “in two rows” (on the left is the visual row, on the right is the text, the author's comment, in other words, on the left is what the viewer sees on the screen, on the right is what he hears; this form practiced in newsrooms) and a literary scenario in which the author seeks to express his thought in visual images, writing them down as it will be shown on the screen, accurately indicating the content of each fragment and their sequence. Further work on such a scenario is carried out by the screenwriter together with the director. In general, a television author, unlike a theater playwright or screenwriter, is closely connected with the entire creative team of the studio at all stages of his work in determining the genre, searching for forms and specific means of television.
The script recording should contain both literary and screen features, i.e. this recording should give an image of what will be seen and filmed by the director and cameraman, clearly convey not only the author's intention, but also offer a plastic, sound and editing solution for the episodes.
If we are talking about an operational report from the scene, the reporter writes the script for himself and the operator immediately before shooting. Even in such cases, one cannot rely on 100% improvisation. Before the news program goes on the air, a detailed script lies on the remote control in front of the director, the second and third copies are kept by the host in the studio and by the sound engineer.
In documentary work, many processes proceed in the same way as in fiction. The impact on the viewer in both cases depends on the significance of the topic, the clarity of the author's position, on the problem, on the personality of the hero, the ability to highlight, emphasize their features, and most importantly, on the author's ability to arouse the viewer's interest, i.e. create such an internal tension of action that would hold his attention. In order to achieve this, it is necessary to turn to the laws of the dramatic structure of the message. At the same time, the properties of the dramatic structure can be compared with the vocabulary of the language, using which a person writes a novel, a poem, and an informational note.
In a television work, it is difficult to convey the continuity of action, since the life span does not fit into the framework of a program or a film. Each frame is an independent plastic world, actually living independently of its neighbors. This independence must be overcome with the help of a single thought that reveals the inner meaning, permeates the work and is transmitted like a relay baton from frame to frame.
The screen captures the external action, its dynamics, tempo, rhythm. This action can be direct, reflected, parallel. Therefore, in the script, it is necessary to clearly "prescribe" the internal (coming from the author's thought) action, which organizes the entire dramaturgy of the work, provides the logic for showing the facts, events, actions and aspirations of the characters. The movement of the author's thought makes it possible to organize the material of reality in such a way that even one event, one problem, shown from different angles, could serve as a pretext for generalization.
Dramaturgy arises where there is a contradiction, a conflict. If during the "targeted" observation, the study of a certain sphere of reality, the author is guided by this rule, then he will choose the material correctly. However, the observed material of life is wider than what is included in the scenario. From it, the documentarian selects those layers that are needed to approve his idea, to reveal the topic.
One of the biggest difficulties in creating a work for the screen is to achieve integrity, an internal dramatic unity. It must be found at the stage of writing the script, so that in the future the director, cameraman, sound engineer preserve and enhance the found organic content and form. It is this quality of any creation that helps to deeply reveal the topic, captivate the viewer with it.
The integrity of the work is manifested in such elements of dramaturgy as theme, idea and composition.
The topic is the subject of the presentation, which is explained or discussed; it is also a statement of the problem that predetermines the selection of life material and the nature of the artistic narrative. A topic is an issue identified by the author as the most important for the given material and the time of its consideration.
The idea is the main idea of the work, with the help of which the author expresses his moral position. The idea may precede the study of the material. This is, as it were, the quintessence of the author's views on reality, the expression of civil and ethical principles on the example of one or another life fact. The idea entirely depends on the author, on the structure of his thoughts, his erudition, moral norms, mental make-up, tastes, inclinations and other individual qualities of the personality.
When the material for the future scenario is collected, its theme is defined and the idea is clear, the next stage begins creative work journalist - the selection of facts, events and persons that should be included in the work, and at the same time the search for a compositional solution.
A documentary script, as a rule, begins with a story about the main, and not a side problem, in order to prepare readers, viewers for the perception of the developed thought. When the purpose of the work is to draw the attention of the general public to the concern for the health of future generations, to arouse the alarm for this among spouses, doctors and scientists, then the problem should not disappear from the screenwriter's field of vision. It can be revealed indirectly, but each episode should, ideally, replenish, expand and deepen the conversation about the main subject of the script and transmission.
Composition is the compilation, connection, connection, regular construction of a work, the ratio of its individual parts (components) that form a single whole. This is the principle of material organization. S. Eisenstein wrote that "composition is such a construction, which primarily serves to embody the author's attitude to the content and at the same time make the viewer relate to this content in the same way."
The composition of a documentary work is usually determined by its theme and idea and is such a combination of facts and events selected for the script that reveals their deep connections and expresses the position of the author. With the help of composition, the author organizes the material, arranges it in a sequence dictated by the desire to embody the idea and fully and interestingly, reveals the main and secondary elements, seeks to combine them harmoniously, by subordination.
The composition helps to cope with purely technical difficulties. A screen work must fit within a certain time frame; this is helped by division into scenes and episodes.
Understanding the composition is especially important for writing journalism, it helps to organize the structure of the screen message, its informational, semantic, emotional and other flows in such a way that their impact does not dull the feelings of the audience, does not tire them, but captivates, excites and entertains with the novelty of thoughts and emotions.
At a certain stage of work, it is necessary to realize which line will become the main one in the dramatic structure of the message. Secondary topics should then be considered, with a strict definition of when they should be introduced.
The task of selecting the main thing from the material, discarding the unnecessary, correctly writing out secondary episodes and other skills for creating a television script is gradually, with the accumulation of work experience, performed intuitively, almost unconsciously. As a result, an internal "mechanism" of material selection arises. The appearance of this inner voice, taste, is a sign of mastery.
All elements of the script are important and interconnected. In the classical theory of dramaturgy, the following scheme of the main elements of composition is given:
exposition (prologue) - application (beginning) - ups and downs (development of the action) - climax (the highest point of the author's position, tension of thought or conflict) - ups and downs (actions leading to a denouement) - denouement (end) - epilogue.
Journalism most often highlights life problems that arise as a result of internal development, hidden from direct observation and not expressed in a single external collision. The initial episode, the first frames of the message are a tuning fork by which one can judge the seriousness of the topic, the presence (or absence) of the author's idea and the skill of implementation.
One of the most common mistakes screenwriters - inaccurate beginning of the script. Ideally, it sets the tempo and rhythm of the piece. It is better to start a script, especially a short message, with the topic that will form the main line of development of the action, thought, problem.
Another important element of dramaturgy is the brightest, most intense moment in the development of the author's thought or the events underlying the work, the climax. Often, documentary writers, referring to the fact that they captured the flow of life, do not single out the central episode in the plot. And the program or the film goes in the same rhythm, which will give it monotony, weaken the attention and interest of the viewer. Instead of isolating and building a climactic episode, an inexperienced screenwriter divides the work into parts - a kind of chapters, which, hiding his professional helplessness or dishonesty, help not only to interest the viewer and involve him in the problems of transmission, but to provide the necessary information. Thought, problem in its evolution naturally passes through the apogee, the highest point of its growth. In the best journalistic works, it is in this scene that an image, a generalization, appears.
The final episode of the journalistic message is an equally important element of the composition. The traditional term "denouement" in documentary is inappropriate, because a documentary message is a part torn from the dynamic flow of life, a part limited by the author's intention, but continuing beyond this intention, outside the work. The neutral title - the final episode - sounds the most competent. In the script, he naturally ends the story of the problem or event that was the subject of consideration. If the final episode is found exactly (and this most often depends on how clearly the publicist imagines what he wants to tell the viewer), it follows organically from the entire artistic fabric of the work. From how interesting and logical the ending depends on the effect of the impact of the transfer, the film on the viewer. Psychologists note that in the perception of the beginning and end of the work, a special concentration of the viewer's attention is noticeable. This is what the screenwriter should take into account.
An important component of a non-fiction scenario is the plot. This term is interpreted differently by different theorists and practitioners. At present, the definition proposed by the playwright L. Dmitriev has the largest number of supporters. "The plot is the logic and sequence of dramatic collisions in which the characters find themselves, the plot is already the author's interpretation of these events, the author's story about them in the sequence that he considers best for himself." The movement of the plot includes the development of the conflict. Usually in a documentary work, the conflict is hidden within the plot, within the characters of the characters, in their words and behavior. A direct collision is rarely shown.
Three main types of conflicts have developed in non-fiction dramaturgy; they are quite consistent with the types that exist in the game:
Struggling with physical obstacles, nature or environment;
Struggle with the social environment, with people;
Fight with yourself, psychological conflict.
In the conflict clash of characters, the problem is personified, due to which the screenwriter took up the material. Without conflict there is no dramaturgy. Therefore, a journalist, before starting to write an application for a script, has to think about what kind of contradiction in life he will consider, about what, hidden or obvious, collision, what or with whom or with whom he will tell the viewer.
So, having studied the material, having determined the topic and idea of the future on-screen message, having selected the characters, facts and events that, in his opinion, will help to reveal the topic, the author proceeds to write the script, i.e., he is looking for means by which he can adequately realize his plan. their thoughts on the example of one (or several) character and incident. In art history, it is generally accepted that at this time the playwright is looking for a form for the content of his work.
Everything that is not transmitted on the screen with a sounding word: the actions of the characters, the setting, the landscape, the details, the author’s thoughts, which suggest to the director and cameraman the possible style of future scenes and episodes of the tape, the atmosphere of the episodes - all this is called a descriptive part, or stage direction (in TV news - "left row"). This requires the development of a descriptive part, which is why the habit of creating works of informational forms of recording a television script in “two rows” does not correspond to professional requirements when working on more complex shapes. Remarque (from French remarque) is not a list of details, it does not just name the action, but gives its on-screen solution. And at the same time, it must be associative. The director, cameraman are not puppets whose movements are mechanically painted, but artists. The script is always intended for its further implementation, in which a whole creative team takes part. Therefore, the script is to some extent a "guide to action" for the director and cameraman, and it is contained in the descriptive part.
The style of the script may be different - it depends on the author's individuality. Remarks can be concise or more lengthy, colorful. But with all the difference in creative approaches, the main requirement remains common - the remark should give full view about what will be on the screen.
In the script, it is important to take into account the possible impact of the background and offer the best option for the setting in which the hero should be filmed, his actions, conversations with the correspondent or other characters. The second plan (landscape, interior details, etc.) creates the mood of the scene, affects how the viewer perceives the meaning of the conversation, the nature of the event. In the remark, the screenwriter needs to describe the time, place, atmosphere and atmosphere of the event, give characteristics of its participants, their behavior, features of speech and appearance. good script contains a lot: the plot, the episodes located along the line of dramatic growth, the detailed fabric of the action, indications regarding the nature of the musical accompaniment and, of course, the montage construction of the action. Editing is as much a scripting problem as it is directing. The author builds the whole action in such a way that it consists of separate elements - shots, so that the shots add up to montage phrases, so that a certain artistic effect arises from the collision of certain fragments. Everything basic that relates to editing (organization of the plot, episode-by-episode connection, etc.) is the elements of script composition. Using the most diverse editing techniques, the screenwriter compares and selects the most important elements of the action, confronts episodes that contrast in structure and rhythm, operates with screen time and space, and creates climaxes. In other words, through montage, he expresses the content and idea.
Script writing is one of the stages of the creative process of creating a journalistic work. Scenario- Literary record of the visual and sound solution of the future on-screen message.
The script is the result of the author's complex, intense search, in which two moments closely interact: the journalist's study of reality and its mental embodiment in a future screen work.
The script is a preliminary stage in the creative processing of the life material studied by the publicist, providing for the possibility of recreating the idea with the help of dramatic, plastic, montage and verbal means of expression. Thus, the script is a literary work of a special kind, it is a description of the future screen work. On-screen means of expressiveness was discussed in the previous chapter. The same one is devoted to the methods, techniques used when creating a script.
The screenwriter, like the prose writer, evoking visual representations in the reader, achieves this with the help of words - bright or gray, accurate or inaccurate. A word acquires one or another of these qualities depending on how fully it expresses the object, thought, feeling that the writer wanted to portray. Of course, the most important factor that determines the completeness of the imaginary picture is the skill of the screenwriter. The ability to express a thought in a word, to draw a picture is necessary for everyone who has devoted himself to the art of the word. It is also necessary for a journalist writing for the screen, where the obligatory vision of the elements of the future screen message - frames and their combinations - is an unshakable law. And not only seeing and hearing everything that will be shown on the screen, but the ability to write it down so clearly that no ambiguities could arise during the screen embodiment.
Elements of "screen writing" can be found in works of literature. They are found in Pushkin and Dickens, Tolstoy and Balzac, Paustovsky and Bulgakov. However, the concreteness of vision, conciseness, effectiveness, plasticity, montage construction is not yet script writing, it is not yet a script. For the presence of "visible" images and even montage is far from all that a television script requires.
In order to better and deeper understand the features of the script as a specific type of literature, let us turn to its origin, to its origins. The concept of "scenario" has existed since ancient times. A script was a plan, an outline of a dramatic work, which was short description actions and sequence of scenes. And the word "scenario" itself arose from the theatrical concept of "scenario" - the so-called person behind the stage, indicating to the actors when they should go on stage and from which side of the wings, as well as monitoring the timely entry into action of all kinds of stage effects.
From the theater, the term "scenario" moved to the cinema. Until the level of the latter rose beyond the limits of the attraction, the script meant a piece of paper with a record of the actors' exits in front of the movie camera. Slowly and gradually, developing along with cinema, the script from the list of "phenomena" of the play turned into a work of literature. In its original form, it gave only a canvas, a rough outline of the action. Over time, the description of the action became more and more detailed. The script began to give the character of a description of the future film. However, some theoretical concepts downplayed the role of the script. In particular, it was believed that a documentary film does not need a script at all, that the film is born on its own - on the set and at the editing table.
In the early 1920s, there was a view of the script as a list of shots (the so-called "numbered" or "iron" script). In the late 1920s, it was replaced by the theory of the "emotional" scenario, the purpose of which was seen as stimulating creative emotions, providing material for the director's imagination, excluding from it a specific description of what should happen in front of the movie camera.
The search for the most perfect recording of a documentary script is still ongoing. Considering that the script is a work of literature for the screen, appearance it can be as diverse as the world of documentary communication itself. Each topic, idea, material requires its own form of screen embodiment, and, consequently, the form of its writing: compressed or widespread, emotional, open or restrained, accurate or free.
The first scenario of the documentary filmmaker D. Vertov is “Walk, Council!” (1925) - written in a business-like manner and at the same time quite emotionally. Each line - a frame or several one-volume frames - an indication of what should be filmed and shown on the screen, although the plan, angle, composition of the frame is not specified (they are the prerogative of the director and cameraman, not the screenwriter):
"... 6 hours. There is a sign on the doors of stores: "The store is closed."
At the door of the shops of the watchman.
Bright lights are lit at the entrances of cinemas, queues appear at the box office of theaters.
The streets are brightly lit.
Buses, cars and trams, illuminated and crowded, rush through the streets one after another.
In the workers' club, a meeting of women workers.
In the library-reading room there is a queue for books.
They sit around the table, read newspapers and books.
Theater entrances are brightly lit.
A blind musician plays the violin while begging...”
A journalistic television program (and a film) begins and is determined by the literary, verbal basis - the script. Its form can be different - from a detailed "frame-by-frame" description of the visual sequence, accompanied by an announcer's text, to a scenario plan, a scenario message scheme, necessary for such genres as a conversation or interview.
On television studios, there are two forms of writing a script: “in two rows” (on the left is the visual row, on the right is the text, the author's comment, in other words, on the left is what the viewer sees on the screen, on the right is what he hears; this form practiced in newsrooms) and a literary scenario in which the author seeks to express his thought in visual images, writing them down as it will be shown on the screen, accurately indicating the content of each fragment and their sequence. Further work on such a scenario is carried out by the screenwriter together with the director. In general, a television author, unlike a theater playwright or screenwriter, is closely connected with the entire creative team of the studio at all stages of his work in determining the genre, searching for forms and specific means of television.
The script recording should contain both literary and screen features, i.e. this recording should give an image of what will be seen and filmed by the director and cameraman, clearly convey not only the author’s intention, but also offer a plastic, sound and editing solution for the episodes.
If we are talking about an operational report from the scene, then the reporter writes the script for himself and the cameraman immediately before shooting. Even in such cases, one cannot rely on 100% improvisation. Before the news program goes on the air, a detailed script lies on the remote control in front of the director, the second and third copies are kept by the host in the studio and by the sound engineer. Takova world practice, only very arrogant new small television organizations allow themselves to do without scripts, but this does not at all indicate the high quality of their work. Here is a textbook example for American reporters of screenwriting, which ensured the exact match of the image and text, like words and melody in a song. (Example taken from John Hohenberg's book "A Brief News Release Script"). The same principle (on the left - the description of the "picture", on the right - the text) is used in the Russian editions of TV news.
|
Gort (in studio shot) shows Tiswell on a large map behind him. Affected areas are highlighted and shaded in red. The camera gives a panorama of the destruction in Teaswell, taken from the aircraft. Then the camera zooms in to reveal ruined houses, rickety poles, fallen trees, stunned people wandering among the ruins. The camera shows how the hurricane leveled everything in its path along several main streets. The woman walks around the overturned car, stops and points to the front of it. In the background, a group of people are listening to her story. A woman wipes her eyes with a handkerchief. The camera pulls out to show the front seat of the car, then back to the woman again. Kincaid (in frame) walks along Wrocław Avenue, past damaged residential buildings, toppled telegraph poles, tangled coils of wire, a mangled children's bicycle. At the same time, she talks about the consequences of the hurricane. Kincaid (in frame) points to the destroyed house, then to the broken baby carriage. Kincaid continues walking, stops in front of the small carriage in which the girl died, then points to a red brick house. The camera zooms in on him. The camera is directed along the destroyed street. Kincaid speaks louder and ends the report. The camera is directed along Kosciuszko Avenue, flooded with the rays of the setting sun. Panorama of Tiswell taken from an aircraft. End of video report. |
GORT (Presenter): Today, a sudden hurricane with winds up to 90 miles per hour left a quarter-mile-long swath of destruction in suburban Tizewell in less than 12 minutes. Three people died and 26 others were injured. Reporting by Donna Kincaid. KINCADE: You see what's left of downtown Tizewell after a hurricane swept through here at 3:06 this afternoon. In just 12 minutes, part of the oldest district, founded over 100 years ago by a group of enterprising Polish emigrants, was destroyed. Sections of the main streets - Kosciuszko, Wroclaw, Szczecin are completely destroyed, Shops and residential buildings collapsed, as if they were made of straw. It's a miracle that so many more people didn't die. WOMAN: My husband and I were driving back from the A&P store on Kosciuszko Street. He is a mechanic, he works at night. He drove the car. Suddenly, I heard a hum like the distant sound of a train. I asked, "Oh, what is this?" He did not have time to answer - the car tilted heavily and lay on its side. The hurricane was so strong that it overturned the car. We were here (shows), I'm on top of Al, I screamed and called for help. Then someone came and pulled us out. I was not hurt, but Al broke his arm, now he is in the hospital. Thank God it didn't kill us. KINCADE: It was Alice Valerie, a Tizewell resident who survived the disaster. When I visited her husband at Beetow Hospital, he immediately asked how his wife was and was very happy when I told her that she was fine. They can be called lucky because three people died and 26 were seriously injured, and you will understand why if you look around. Ted Polycarp lived here with his wife and six children. Before the hurricane, he was repairing the attic and died, crushed by a collapsed roof. His youngest daughter, three-year-old Isabelle, was in the yard in that little red pram. She was killed by a fallen tree branch. Mrs. Polycarp and her five children were taken in by neighbors who lived nearby. The red brick house in which they were sheltered did not lose a single strip of slate, which once again speaks of what an unusual hurricane it was. Yes, this nice little suburb, the "bedroom" as the residents call it, north of Central City has been turned into a graveyard this afternoon. But already in the evening people are talking about the fact that they will restore the area. They carry the spirit of the great Polish patriot Tadeusz Kosciuszko, one of George Washington's generals in the War of Independence. He did not want to see the sun set over the country for whose independence he fought. And it will not fall for the people of Tizwell if they keep their courage. For Channel 12, Donna Kincaid, Tiswell. |
American reporting is from the category of "hard", that is, operational, eventful. Both American and Russian TV have news that can be called not only "soft", but also partly entertaining, with elements of humor. They are not always tied to a specific date. Principle: “an event becomes news because we told about it.” If such a report is not aired quickly, “from the wheels”, the author has the opportunity to carefully mount the “picture” and work on the text properly. The author's interpretation of the facts appearing in such reports must be ethically impeccable - humor does not turn into mockery, there is taste and a sense of proportion. Here are examples of such news from practical thesis Moscow State University graduate Ivan Raspopov. The reports were aired in the spring of 1998 in the Segodnyachko program (NTV).
MISS RED STAR-98
|
About. sq. the hall where the contest "Miss Red Star-98" takes place. You can see banners-announcements about the competition. In the frame are marching contenders. Cr. sq. the lower part of the female body covered with a swimsuit. Cr. sq. a young soldier in glasses, shocked by what he saw. In the frame - A. Sovin, one of the organizers of the competition, against the background of the hall. The camera shows individuals sitting in the audience hall. Background: the girls are getting ready to go to the podium. Night club panorama. Cr. sq. Svetlana, tax inspector. The camera over the heads of the audience shows the competition: girls dressed in ball gowns (and then in swimsuits) walk around the stage. Smiling faces of the contestants. Profile of the director, who commands the "parade" from behind the scenes. Natasha, one of the contestants. Panorama of the faces of the jury members. Girls diligently demonstrate their dignity, defiling on stage. Svetlana. The camera shows the fitting of a wedding dress. And again shots of girls walking around the stage in swimsuits. Lena shows how she would attach shoulder straps to a swimsuit. Diploma of the winner of the competition. Albina in the crown, Albina dancing with the correspondent. The winner is being interviewed. |
Corr.: To sweep aside all idle speculation, oh main task The contest "Miss Red Star-98" was announced at the very beginning. This is an increase in the level of patriotic education of young people. As for the male part of it - that's for sure. Organizer of the competition: Our girls represent the tax police, customs, internal troops, so I am friends with them, you never know where life will take them. Corr.: In fact, two girls from the tax police at the last moment were removed from the competition by their own superiors. The explanations are as follows: today they go naked in this nightclub, and tomorrow they will have to shake out money from this institution. But one girl from the tax office participated. Corr.: Is it possible to fall in love with a malicious taxpayer? Svetlana: No! Corr. (offscreen): And what, he will suffer on the edge of the bed like in advertising? Svetlana: Yes, and I am with him, but the law is the law! Corr.: The competition, that is, the fashion show in different outfits and almost without them, was held in the army quickly, concisely, succinctly. Girls are not used to Director: Come here! Stop, fool! Not here, but here!!! Natasha: I like that everything happens at the usual pace: undressed - dressed - on stage! Corr. (behind the scenes): Get undressed - on stage! Natasha: No, I got dressed for the stage. We're an army! Corr.: Unfortunately, the jury took into account only the external data of the girls of the servicemen, because it mainly consisted of pop stars. But all the girls are masters of their craft. As, for example, Svetlana is an employee of a sobering-up station. Svetlana: There have been cases when, after my consultations, people stopped drinking, yes, it happened. Corr.: Many girls tried on Wedding Dress not the first time, so they are, strictly speaking, could not claim the title of "Miss Red Star-98". And for someone and the swimsuit at one time was a military uniform. You never know who and where Lena, an employee of the Ministry of Emergency Situations, had to save. Corr.: But still, the modest girl Albina, a cadet of the Oryol Law Institute of the Ministry of Internal Affairs of Russia, was recognized as the best of all this splendor. Albina: You feel like the first! Corr. (behind the scenes): Just a year! Albina: But there are 365 days in a year, and every day you wake up and understand that you are the first. |
|
FALLEN "URAL" |
|
|
The camera zooms out from where the Ural truck that fell off the bridge damaged the fence. Broken fence. Hit from above on the "Ural", lying under the bridge with the wheels up. Says the traffic police inspector. Road worker. A group of boys, one of whom was a witness to the incident. Workers carry parts of the fence and begin to weld them. The same group of boys. They tell. The military hurriedly get into the cars: the senior ranks - into the Volga, the soldiers climb into covered trucks, the Volga quickly turns around. The soldiers rush to get into the truck. The Volga is leaving. The camera in the other car follows her. Road shield. The road along which the cars rush. |
Why don't people fly Why do they fly. today on the 24th kilometer of the Yaroslavl highway, a military Ural flew off the bridge. Inspector: The drivers didn't let each other pass. "Ural" flew into the oncoming lane, and that's it. Worker: Due to the fact that the "Ural" - the wheels are high - that's why he jumped. Boy: The girl was walking, he fell in front of his nose. She was taken somewhere in a state of shock. Corr: The most amazing thing is that the frightened girl is the only victim. Our soldier does not burn in fire, and does not sink in water, and from the bridge - easily. Boy: One hit his head, the other only got a bruise. Fleeing military: Yes, everyone is alive... Corr.: On the topic of flying from the bridge, people in uniform immediately put a secrecy stamp. Looking into the general's Volga, we saw taciturn military bosses and a first-year soldier with a scratched face. When they found out that we were from NTV, the race began, which continued until the 70th kilometer of the Yaroslavl highway. According to our calculations, they are now between Vologda and Arkhangelsk. |
LIEUTENANT COLONEL SAYENKO.
|
Shell garage. Its lid is lifted by 2 men. And the viewer sees Alexei's damaged car. A car is passing by. Aleksey is sitting at the table where the papers are laid out. Documents lying on the table. In the frame, Alexey tells. Massive door, next to it - a sign. Hitting the sign "Department of Internal Affairs". In the frame: Alexei is on the phone. A road where cars drive. The building of the police department. Saenko gets out of the car. Saenko says, half-hidden by a massive door. The door closes. Figures of policemen. Alex comes out the door. Alexei's lawyer says. The road along which cars are rushing, the camera snatches out of the stream and fixes the viewer's attention on police cars with signal lights. |
Corr. (behind the scenes): This story began on August 7 last year, when a police car crashed into Alexei's car at the crossroads. The traffic police who arrived at the scene found her driver guilty. Alexey: An expert came and estimated the damage at 14,700,000 rubles. Corr.: After the transfer of papers to the head of the motor transport department of the Moscow police department, Mikhail Saenko, the matter stalled. Corr.: Lieutenant Colonel Saenko feeds not only Aleksey with promises: the Central Internal Affairs Directorate has no money. The debt to the victims of such accidents is 1.5 billion rubles. Cars of law enforcement officers are rammed not only by old Fords, but also by brand new Mercedes and BMWs. It is not difficult to guess who will be the first to receive money when they appear on the account of the Central Internal Affairs Directorate. But these are assumptions. To find out the truth, we decided to hear the head of the ATO GUVD Mikhail Saenko. Saenko: You have no right to film. I'm taking you to court. Corr.: It is a pity that we did not manage to hear the head of the transport department. But in vain Lieutenant Colonel Saenko plays with us the elusive avenger. Because it is his department that should become the defendant in court. Lawyer: Alexei needs to be sued. When money appears on the account of the Central Internal Affairs Directorate, they will be seized and the damage will be automatically compensated. Corr.: The conclusion suggests itself: dear motorist, be quick, dodge the police car rushing to the special task in time. |
Sometimes you can find technical instructions in the scripts in the left row (“cr. pl.”, “ob. pl.” and other similar professional terms). Once considered mandatory, they are now out of fashion. It is not the business of a writer to prescribe such subtleties of their work to competent operators.
The literary version of the script for a large program or film contains an indication not only of the objects of shooting, but also of the moral and emotional attitude of the authors to the events, heroes, their destinies, to the things around them; in other words, the script expresses the author's position, which helps the director and cameraman to find adequate images. The journalistic scenario reflects the individuality of the author; the style and manner of literary recording predetermine the style and genre of the screen embodiment. Let's verify this with an example.
“An elderly man in a general's uniform opened an oilcloth notebook.
It's not just a notebook, it's a diary. A diary that I kept at the front, and then - in the rear of the Nazi troops every day.
On the table are notes, fragments of reports, a combat log. Severe stamp: "Top secret."
Deaf blows keep track of time.
An inscription appears in a cage on a notebook sheet - the name of the film. And immediately...
Slow passage in the forest along an overgrown trench. Ruined church. Elder bushes are burning next to her (like drops of blood - red berries) ... And a song is born:
Forties, fatal. Military and front-line, Where funeral notices And echelon clatter.
The village is on fire - a black village in a red outline. Black earth. Black fire in a red outline. Fury and anger of conflagrations. A man falls to the ground. And then - the black earth turned into a golden field. The blue sky lit up. And a white monument with a five-pointed red star stood forever at the edge of the forest.
This is an excerpt from the script for the television movie Private Chronicle of the War. Achieving the goal - to excite first the reader (editor, director, cameraman), and then the viewer with their story, the authors of the script (I. Belyaev, M. Pinkus, E. Yakovlev) use, without changing the exact facts, both certain vocabulary and rhythm speeches, offer their figurative vision, musical solution, choose sound accents and colors...
When the director receives a script in which the nature of the on-screen solution of the topic is not developed or the scriptwriter's instructions are not feasible, he does everything in accordance with his understanding and attitude to the message material, i.e., he actually becomes the author (or co-author) of the work.
Once I. Ehrenburg wrote: “There are events that are hard not to notice. You can't sleep through the war - the sirens or the agenda will wake you up. The hurricane breaks trees. If a neighbor dies, the coffin is taken out of the house. The newborn screams behind the wall. But the artist must hear how the grass grows - that's why he is an artist. The many-sided truth of life, visible and not visible to the naked eye, audible and one that cannot be heard, documentary filmmakers strive to embody in their works. For this to happen, they need to know the basic principles of working on a literary understanding of the material of reality. The script must be written in the correct literary language, clearly and accurately express the author's thoughts, include a description of the scene, characterization of the characters, atmosphere, mood, details, background. All this pursues one goal - to get the director and cameraman as associates, to captivate them with material, characters, thoughts, so that they not only do not lose the wealth of ideas and images obtained by the journalist, but also strengthen them without distorting the plan. The skill of the screenwriter also lies in choosing such a manner of recording his thoughts about the events reflected, in which the description of the pictures of life, the characteristics of the characters do not sound exhaustive, not unambiguous - in a word, when the main direction, the strategy for creating a program or film is outlined. The filming tactics, the final pictorial forms of the embodiment of the thought will be found by the director and cameraman.
“In the recording of episodes,” the well-known screenwriter V. Nikitkina reflects in her book Light on Faces, “the situation is set, the expected questions are outlined, sometimes the expected result. But whether it will be possible to reveal the essence of what is happening, to reveal the characters of the characters, depends primarily on the director (especially if the author is not present on the set). Well, really, on whose faces to fix attention, whose speeches to record and to what extent - all this cannot be determined before filming.
