지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Purpose of this thesis is studying on the eight-sequence structure of the films, 〈North By Northwest〉 and 〈Oldboy〉. The eight-sequence structure is of a paradigm-an ideal layout-and variations have been done, very effectively. But it can serve as a starting point. Over the course of a typical two hour movie, the eight-sequence structure works out follows.
Sequence A, the first fifteen minutes of a picture answer the questions of who, what, when, and under what conditions the picture will take place. Before such exposition, though, it is crucial to hook the audience and get them interested in watching further through the use of curiosity. Usually by the end of sequence A, there arises a moment in the picture called the point of attack, or inciting incident.
SequenceB, the second fifteen minutes of a film tend almost invariably to focus on setting up the main tension. As such, the end of the second sequence tend to mark the end of the first act.
SequenceC, the third fifteen minutes of a picture allows the protagonist a first attempt at solving the problem posed at the end of the first act. Caracters tend to choose the easiest solution to the problem, hoping it will be resolved immediately.
SequenceD, the fourth fifteen minutes find the first attempt at resolution failing, and sees the protagonist try one or more desperate measures to return his or her life to stability. The end of the fourth sequence very often leads the First Culmination or Midpoint Culmination of a film.
SequenceE, the next fifteen or so minutes make the protagonist work on whatever new complication arose in at the first culmination.
SequenceF, the last sequence of the second act makes the character find the going most difficult and work at last toward a resolution of the main tension, and find the answer of the dramatic question. The end of the sixth sequence thus marks the end of the second act, also known the Second Culmination. As such, it gives the audience yet another glimpse of a possible outcome of the picture.
SequenceG, the seventh sequence is often characterized by still higher stakes and a more frenzied pace, and its resolution is often characterized by a major twist.
SequenceH, the eighth final sequence almost invariably contains the resolution of a picture. SequenceH of course almost invariably contains an epilogue or coda.
Sequence A, the first fifteen minutes of a picture answer the questions of who, what, when, and under what conditions the picture will take place. Before such exposition, though, it is crucial to hook the audience and get them interested in watching further through the use of curiosity. Usually by the end of sequence A, there arises a moment in the picture called the point of attack, or inciting incident.
SequenceB, the second fifteen minutes of a film tend almost invariably to focus on setting up the main tension. As such, the end of the second sequence tend to mark the end of the first act.
SequenceC, the third fifteen minutes of a picture allows the protagonist a first attempt at solving the problem posed at the end of the first act. Caracters tend to choose the easiest solution to the problem, hoping it will be resolved immediately.
SequenceD, the fourth fifteen minutes find the first attempt at resolution failing, and sees the protagonist try one or more desperate measures to return his or her life to stability. The end of the fourth sequence very often leads the First Culmination or Midpoint Culmination of a film.
SequenceE, the next fifteen or so minutes make the protagonist work on whatever new complication arose in at the first culmination.
SequenceF, the last sequence of the second act makes the character find the going most difficult and work at last toward a resolution of the main tension, and find the answer of the dramatic question. The end of the sixth sequence thus marks the end of the second act, also known the Second Culmination. As such, it gives the audience yet another glimpse of a possible outcome of the picture.
SequenceG, the seventh sequence is often characterized by still higher stakes and a more frenzied pace, and its resolution is often characterized by a major twist.
SequenceH, the eighth final sequence almost invariably contains the resolution of a picture. SequenceH of course almost invariably contains an epilogue or coda.
목차
1. 서론
2. ‘8시퀀스 3막’ 내레이션
3. <북북서로 진로를 돌려라>의 내레이션
4. <올드 보이>의 내레이션
5. 결론
참고문헌
Abstract
참고문헌 (19)
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UCI(KEPA) : I410-ECN-0101-2015-688-000998051