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| The basic narrative concept of story telling in motion picture |
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| Academy of Motion Picture Arts and Sciences |
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| This renoened industry organization, recognizing the need for some kind of format for screenplays when sound cam into motion picture, be gan to standardize the screenplay format, which has led to the modern-day master scene script. |
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| The events and choices whose consequences impact characters and constitute the storyline; the fundamental component of visual narration in visual media. |
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| The key idea or seed from which a script grows; also a form of meta-writing. |
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| An early pioneer of moving picture art for the Biograph Company who extended the vocabulary of visual narrative. |
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| Written dialogue seen on screen as text to be read by the audience and a beginning to the need for a script to put words in the mouths of characters. |
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| Invented a motion picture camera, which also served as a projector, in 1895. |
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| The author's term used throughout the book to mean visual and conceptual thinking that underlies visual writing and that may not be explicit expressed in the program. |
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| A novelistic device that is vitually impossible to replicate in motion picture. |
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| An early term of the silent movie industry to designate an outline dramatic idea, what might now be called a treatment. |
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| A screenplay or script is the translation of the TREATMENT into a visual blueprint for production laying end to end the particular scenes employing the specific descriptive language of the medium to describe what is to be seen on the screen and heard on the sound track. This means the action and its background and each new character in the SCENE must be delineated. Every word of dilogue intended to be spoken must be written down. Every SCENE must be described. |
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| A script is the final document that details the scenes that make up the narrative of a film or program. It describes action and provides the dialogue to be spoken and is laid out in a format according to the convention of the medium. MASTER SCENE SCRIPT or SCREENPLAY is approprate to film, and a DUAL COLUMN FORMAT is appropiate to documentary or corporate programs. |
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| The term that embodies all the visual thinking and writing down in specific format of the narrative. |
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| After the CONCEPT comes the treatment. Both these terms are universally used and understood. Awriter must know what they are and how to write them. Writing the treatment involves expanding the concept to reveal the complete structure of the program with the basic content or storyline arranged in the order that will prevail in the final script. All characters and principal scenes should be introduced. Although this document is still written in norm prose, it frequently introduces key moments of voice narration or dramatic dialogue. |
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| An essential characteristic of writing for visual media that means narrating through action and what the camera sees rather than by what people say. |
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| Like literary metaphor, an image that allows an intensification of meaning by transference of qualities of one object to another. |
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| Writing in one medium for another |
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| Represents the fundamental paradox of scriptwriting because the writing is a blueprint for something that is not words. |
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