is screenwriting in film conflicting with modern technology?

8/13/2019 'Is Screenwriting in Film conflicting with Modern Technology?'

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DISSERTATION QUESTION:

Is Screenwriting in Film conflicting with Modern Technology?

by

Jack Lyons

(BA (Hons) Scriptwriting

Year 3

(30/11/12)


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Chapters

Introduction

I. Chapter One

The Screenwriter and the Writing Process

II. Chapter Two

The B Movie

Case Study: American Psycho

Case Study: The Wrestler

III. Chapter Three

The Franchise Film

Case Study: Lord Of The Rings Trilogy

IV. Chapter Four

The Impact Of The Comic Book Film on Technology

Case Study: The Dark Knight

Conclusion

Bibliography

Appendices

I. Progress Map

II. Mindmap

III. Plan


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Introduction

The question I seek to answer with this dissertation entitled Is Screenwriting in Film conflicting

with Modern Technology?.

To elaborate, I will discuss how the fundamental aspects of storytelling in film are influenced by

new techniques of filmmaking, the story and how technology influences the way audiences see

films. To go deeper into the title question, I will look at how the Screenwriting process has changed

as a result of technological advances such as computer software for Screenwriting in a professional

format and how it is taken from written word to the screen. What is the process from having an

idea, writing a scene and seeing it come to life onscreen? I will discuss how screenwriting in film is

developing through technology advances like IMAX, 3D and HD. How is it changing the way films

are written? Is it changing them at all? If so, how does it affect the films we see as an audience?

Screenwriting in its simplest form is writing for the screen. Several components are crucial to

developing a screenplay. Narrative, plot, story structure, theme, genre and characterisation help

define a film, genre and audience. From this, a film is created and released to an audience who may

or may not have expectations of the finished film before seeing it. Therefore, I intend to look at film

marketing to understand whether there is a direct psychological link between how a film is written,

produced and released to an audience. I will look at marketing trends in film that result from

successful blockbusters against independent film. How is film marketing changing an audiences

perception of movies? How is digital technology in film portrayed to an audience before they see a

film? Are technology advances (internet, social media) changing the way audiences see films and

in turn, are they changing how films are written for an audience?


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As an audience, we have been able to see, hear and dream things unimaginable onscreen. When an

audience see a film, its a form of escapism. Its a journey from beginning to end. I will also discuss

emerging trends such as the use of 3D, HD, Motion Capture, Greenscreen & Bluescreen

Technology. Are they enhancing a screenplay or creating a conflict between the development of

story & the visual effects accompanying it? What does each technqiue add to the process of

filmmaking and how are they different?

Are the abilities of writers changing as the technology develops? Are the audience becoming more

accustomed to digital effects rather than a satisfying story? Where does the future of film narrative

lie in the technological era? Is it entertainment or substance? Is it both? To help me answer this

question, I will look at films such as American Psycho (Film, 2000), Lord Of The Rings Trilogy

(Film, 2001-2003), The Dark Knight (Film, 2008) and The Wrestler(Film, 2008 and others to

determine whether stories are conflicting with the image they present to an audience onscreen. By

looking at smaller, cult films in juxtaposition with larger, blockbuster films, I hope to create a

cohesive argument throughout for use of digital technology against the use of it to tell a story in

film.

To develop my question further, I will also discuss using primary research what filmmakers and

writers think of the emerging technology. How does it effect them and what is their opinion of

writing with digital effects in mind? Does it broaden the imagination of the writer? Or is it limit the

scope of a film? If so why? I will find out how audiences react to special effects films and whether

the genre is an indication as to its use in film. Additionally, I aim to find out from researching the

films above what the difference is between practical and digital effects in film. Does it make a

difference to the narrative and if so, why? What is the impact of digital technology on how films are

written?


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I will also discuss how film is continuing to evolve, regardless of technology and look at how the

audience is changing. With the increasing amount of films being released and the time it takes to

make them being shorter, are films becoming disposable because of technology? If one film works

and ten dont, what is it saying about the film industry and the approach to the writing of them? I

will link this in with the marketability of film as they are part of the same question.

I also intend to discuss using secondary research how the demand for the technology has furthered

in film. With the audiences wanting new and creative stories, are these innovative techniques

becoming more common than originally intended? Moreover, are we as an audience wanting

technology in films as much as the studios want a profit from them? Where do screenwriters and

their creative storytelling stand with the increasing demand that digital technology is having on

writing?

A film can have a multitude of action and effects and work well, but if it doesnt have a story or

actors that can make the material work it can fall apart even if it has good intentions. By researching

and evaluating the films above, being American Psycho, The Lord Of The Rings Trilogy, The

Dark Knight and The Wrestler, I hope to discover whether screenwriting is conflicting with

modern technology and if so, how is it having an impact on film? How is it changing it? What effect

is this having on the way films are written? How will change screenwriting in the future? I hope to

find an answer and hopefully build a debate around this topic that has positive and negative

arguments towards my lead question Is Screenwriting In Film conflicting with Technology?


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Chapter 1

The Screenwriter and the Writing Process

In film, screenwriting is a significant process in developing a story. It enables a significant number

of ideas to be developed and worked into the context of a narrative. The genre, the theme,

characters, locations, story beats and the film in its most basic detail are drafted through the writing

of the script. The process for writing scripts has changed significantly with the invention of the

Internet and advances in technology. Before computers, writers could only write a script with a

typewriter or by hand. Inevitably, if they made a mistake in the scene or something was written

wrong they had to rewrite it. The technology wasnt available to copy and paste or cut pieces out of

the script. This meant in the process of screenwriting that every word had to be written carefully

and thought out in the most minut detail. Now, writers can use software like Celtx and the industry

standard, Final Draft to create screenplays in a professional format. It has helped pioneer new

techniques in screenwriting and film.

The role of a screenwriter was such that they would be hired by a studio to write a draft of the film

to a deadline for a fee. For example, if the fee is 40,000 for the script. An advance is paid for the

writing of the script, which is a one-third of the actual amount. The next fee is on the delivery of the

script to the studio with the script approved of and the last payment is when shooting of the film

begins. In recent times, the screenwriter has been increasingly sought after due to the increasing

need for entertainment. Audiences want to see new, exciting films that entertain them and give them

an experience. Film studios such as 20th Century Fox and Warner Brothers capitalise on their

audiences need for film and what will work in the market. The most significant development to

film in the last twenty years has been the use of CGI (Computer-Generated-Imagery).


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CGI is a process that involves taking imagery from a computer (characters, environments or props),

recreating it and juxtaposing it into a film. Whether it be animation or live action, CGI has become

a significant development that the film industry have accepted into their approach to movies.

Specifically, given the fact that several blockbuster films rely heavily on CGI to tell a story.

As a result of this, Screenwriting has evolved significantly with the emergence of CGI. In several

ways, it has helped the creativity of writers. Impossible ideas that were not achievable in the past

have become a reality. It can also be a source of conflict for writers who are unfamiliar As an

audience, we see films that push the boundaries of what a story can do. Some stories are more vital

than others, and others are made for purposes like entertainment and education. Film is a

developing medium and is able to change with its audiences need for new experiences of film.

CGI has been a natural evolution for film-making, especially with locations because it enables a CG

environment to be built that is interactive and easier to reproduce than a live-action environment.

James Figgis stated in his 2007 book,Digital Film Making, (Figgis, 2007, p.57),

!In film, the use and development of a specific location has somehow gone down a very specific

path. Part of the experience of a film is often the lush photography of a specific location"

When screenwriters are tasked with writing a film, there are several things they must consider in the

process of writing their script. Characters. How will the characters work in the story? What is their

purpose in the journey? Dialogue. How will the characters speak to one another and how will the

audience tell them apart from each other in a scene? Locations. How do the locations factor into the

film? How many sets will needed to fully accomodate the film. The most significant of these is

Cost. How much it will cost to make the film? Will the allocated budget for the fiitlm accomodate

the scenes? Scenes that work on the page may not work in the process of adaptation to the screen.


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Editing a script is crucial in ensuring that the story is fully fleshed out and solid for shooting. A

script editors job is to ensure that the pace of the story with the actions of the characters is

constant. In todays market with digital technology, particularly in action/adventure films and any

genre using special effects storyboards are really efficient in building the Mise En Scene of the film.

Mise En Scene is significant in every aspect of production. It is a French term that depicts the

location, the setting, the costumes, the period it is set in and how the story unfolds are all part of

building a narrative.

A film story cannot exist without these elements intact. My argument towards technology is that in

of ways, it has improved the medium of film. It has helped the industry to build significantly and

because of this, writers are able to crossover into innovative new sub-genres known as hybrid

genres. A process where the elements of two seperate genres are combined together to make a new

style of film. Comedy Drama, Sci-Fi Thriller, Murder Mystery and Fantasy Epic are some examples

of the hybrids where both elements compliment the other with their style and expression with the

story.

However, while it does offer screenwriters the opportunity to build on their writing skills, it can

restrain their creativity. Film studios will always ask for a script to be written to a specification. In

the Screenwriting Industry, this is known as writing On Specification (On Spec). The writers then

negotiate a fee through their agent and the fee is paid by this method. The fractions below are a

common representation of how a deal is drawn up in UK/US Contracts between a Screenwriter and

the Client who is hiring them.

1/3 as an advance to start work on the project

1/3 after 40% of the work has been written and submitted


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1/3 upon 80% completion and the finished draft of the of the fee upon delivery of the first Draft

(http://www.thescreenplaywriters.com/ (October 22nd 2012)

For a screenwriter, writing an On Spec script is profitable compared to Off Spec scripts.

However, writers are unable to fully reach the apex of their creativity because they are writing what

the studios want to see. In the documentary Dreams On Spec (Film, 2007), it is implied that

writing your own films is almost frowned upon in Hollywood. Some screenwriters are restricted by

this and some are not. In the current climate of action films, adventure films, family comedies,

animation and CGI, where are the opportunities for a writer to develop their skills in new, exciting

genres?

Chapter 2

The B Movie

American Psycho (Film, 2000) was an innovative film in the thriller genre. The narrative in its

simplest form is about a narcissistic banker who is a perfectionist living in a world of perfection in

1980s Reaganomics where the successful are indulgent and rich. The film was made on a modest

budget of $7million which that effectively it was an independent film. Since the story was also an

adaptation of a controversial best seller book by writer Bret Easton Ellis, it was known to public

before its release.

The story delves into darker territory when the lead character, Patrick Bateman (Christian Bale)

kills his victims as a way of being intimate with them. As the book itself was an established works

and didnt rely on special effects to sell the purpose of the story, it created a realism to film that

wouldve otherwise have been changed. The violence depicted in the film was done using practical

effect which helped in developing Batemans paranoia as he keeps committing murder in gruesome

ways. The character development for the character was crucial in developing the story. Bateman is
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the central character and its important in the story of the film that the audience see both sides of the

character, his perfection and his need for murder. (http://www.youtube.com/watch?v=8lLl95A1-jI)

The writing for American Psycho is a clear example of how screenwriting can work without being

indulgent on technology. Specifically as it was adapted from a book, the writers were able to

condense the material and focus on the parts that they felt were essential to show onscreen.

American Psycho was independently funded and directed by Mary Harron, a music journalist.

Therefore, the gruesome nature of the story could be addressed without having to censor the film

for a wider audience. Scenes from the film involving prostitutes being murdered It was given a

rating of NC-17 in America and 18 in the UK and Europe because of how grotesque the violence

was depicted in the final film.

In comparison to American Psycho, which thrived on being an adaptation of a book, The

Wrestler (Film, 2008) has a different scope with its intentions in film. Its a different story and the

style of the genre dictates how the writing will make use of effect.

The Wrestler is a Sports Drama is about an aging wrestler trying to hold onto his legacy was

originally intended to be a blockbuster film with Nicolas Cage as the main character. However, after

negotiations went awry, Mickey Rourke was cast to play Randy The Ram Robertson. It was

independently made on a $6 million budget with much of the budget going towards shooting in

New Jersey, USA. As an independent film, it was not predicted to be a big hit at the box office.

There were no special effects. No big action sequences, except for the fights in the ring. No lavish

set pieces or locations. It was set in a real place about a real character. Much of the camera work

was handheld as director Darren Aronofsky felt it suited the documentary style of film making. He

used handheld cameras for much of the exterior scenes to show the realism of the character and the

world he lives in.


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Several scenes were improvised with Rourke having to play the character in real time. Aronofsky

explained his intentions in an interview with www.collider.com,

My goal there was to show how much it actually, physically hurt. People always think its fake, and

my point was, Sure, its fake, the outcome is already decided, but the stunts are not fake. These are

real people falling onto a concrete floor.

As a genre, its a sports drama with action and romance as smaller elements. In several ways, it

could be argued that its a short film because of the study of character and the immensity of the

story. Most films of this genre would reflect the amazing and incredible aspects of the sport but this

shows the audience a harsh reality from which they subconsciously empathise with. As a story, its

structure is different. A typical film has a beginning, middle and ending. Bulgarian philsopher/

theorist Tzvetan Todorovs theory of Equilibrium is a common story device in film. He devised its

use in film and other mediums from his Theory of Narrative thereby stating that stories are

structured into five acts to resolve the story. Equilibrium, being at the start of the narrative and

new Equilibrium signifying the ending.

These five acts all being crucial in the telling of a story,

1. A state of equilibrium at the outset;

2. A disruption of the equilibrium by some action;

3. A recognition that there has been a disruption;

4. An attempt to repair the disruption;

5. A reinstatement of the equilibrium

- (Todorov, 1975)
http://www.collider.com/http://www.collider.com/


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The use of this theory is common in most storytelling because it is effectively what an audience will

expect from a film narrative. The Wrestler as a narrative opens on disequilibrium. The harsh

reality of the life this character leads is shown in a documentary style form, creating realism and

intrigue into the world Randy lives in. Then a state of equilibrium occurs when the character stops

wrestling, leading into the new disequilibrium which is his eventual death. As it was an independent

film with a small budget, everything that was shot for the movie had to be important to the story.

Special effects were not needed to improve or enhance the narrative because the genre was firmly in

place and practical effects were necessary to show the character as a real human being in the story.

Both films were made on a modest budget without special effects and still made an impact with an

audience. In comparison to American Psycho, which thrived on being an adaptation of a book,

The Wrestler (Film, 2008) has a different scope with its intentions in film. Its a different story and

the style of the genre dictates how the writing will make use of effect. Both of them were a success

with audiences and enjoyed cult status because of their inability to shed the realism within their

stories. The writing was crucial in enabling both films to work as individual stories. The Wrestler

was an original story and American Psycho was an adaptation but they both worked without

special effects and the use of practical effects and environments was justified in the story.

Chapter 3

The Franchise Film & Adaptation

In recent years, the franchise film has become a successful, marketing commodity for

screenwriters. With 3D and CGI being the driving force of modern technology, the need to create

entertaining film with good stories is high. Franchise films are a profitable enterprise for film

studios, particularly in America. A modern franchise film budget may be over $100 million to

facilitate the size of the production. A franchise screenwriter is writing for a mainstream audience.

Therefore he or she is writing for the corporate system of film studios. While this is a profitable

commodity for most screenwriters, they are effectively writing to the capabilities of the technology.

Some writers go beyond its limitations, pushing innovation and creativity to new heights.


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In 1999, New Zealand born director Peter Jackson decided to adapt JRR Tolkiens Lord Of The

Rings books into three films. The Fellowship Of The Ring, The Two Towers and The Return Of

King were a risky undertaking as no one had attempted to make them into feature films before.

With his writing team, Fran Walsh and Phillipa Boyens helping him to draft the screenplays,

Jackson intended to produce a live-action interpretation of an unfilmable book according to its

author. The most significant advantage to the films production was the book itself. Lord Of The

Rings was an established work of literature. Therefore, the creation of its screenplays meant there

was an audience before production began. The story took precedent over the technology because of

the source material. Its story was created but not adapted for the screen at the time.

The process of adapting book to a screenplay is an arduous task, particularly for cost reasons.

Scenes which are vividly described in a book may not work onscreen which may lead the

screenwriter to make deviations from the source material. This was true of Lord Of The Rings. How

could a team of screenwriters decipher fifteen hundred pages of source material over three films

without losing continuity? Several scenes from the book didnt make the finished screenplays

because their interpretation of the book was different.

From a writing perspective, they chose what would suit the story over visuals dictating the latter.

Digital Effects were a way to enhance the story on the page. The use of Storyboarding help bridge

the words of a screenplay with a filmmakers perspective. Specifically for visualising how the story

will look onscreen. It is a great method of continuity in a scene with digital effects or action taking

place. It does somewhat lessen the creative gap between screenwriters and filmmakers as they work

towards their vision of a scene.


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The Lord Of The Rings trilogy was filmed in New Zealand over an 18 month schedule which was a

first in the film industry. Most mainstream blockbusters took longer to film because of the scale of

production. The benefit of filming back-to-back meant multiple filming units could be used to cover

several locations and story elements simultaneously. This feat wouldnt have been possible without

the emergence of digital technology and the narrative techniques that evolved because of it.

Film trilogies are an elaborate way of storytelling for screenwriters. Rather than a stand alone story,

they can build the story, film by film. By applying a three act structure to the story, a writer intends

to create a satisfying resolution to the films. Lord Of The Rings was a book made of three

volumes, therefore each volume was conceieved as a film. The first, sets up the characters and the

conflict that follows through the film, concluding on life changing events that takes the characters

further on their journey. The second film is where the narrative changes. New characters enter and

others are in peril. The conflict deepens and the third film is intended to bring a resolution to the

story. For screenwriters, sequels are a challenging feat.

When writing a trilogy with an ensemble cast, several locations, a crew and special effects, it can be

a challenging task for a screenwriter. If there are special FX elements or characters needed for film,

digital technology is vital in making that happen.

The idea of a film trilogy is partly derived from the 3 Act structure which is a beginning, a middle

and an ending. The first film is intended to set the characters and conflict they are involved in.

Changes occur, characters change through the course of the story. The second film, like a second act

of a play is where the bulk of the conflict from the trilogy is placed. It has no beginning and no end.

Its a continuation of the story. Whereas, the last film is intended to close the story sufficiently to a

point where the audience will be satisfied with the ending. However, it isnt easy to create


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continuity and one of the problems that faces writers when they write the second act is keeping

consistancy with the film.

Peter Jackson voiced his thoughts on film trilogies inFrom Book to Script - The Two

Towers (Documentary, 2003)stating,

Shooting a trilogy, I think is a great experience. It has drawbacks and I think, in a sense the middle

chapter of the trilogy is the greatest drawback

The biggest technological feat of The Lord Of Rings trilogy was in The Two Towers with merging

character with technology was in the development of Gollum, one of the antagonists in the story.

The writers were aware that the character was not human. He was deformed, malnourished and had

become a creature due to his obsessive nature and addiction the ring. The approach that was taken

in the writing was that the description of the character needed digital animation. The task was to

find a way to show Gollum as a real physical being to onscreen next to actors Elijah Wood and Sean

Astin in their scenes.

If Gollum wasnt believable, if he fundamentally didnt work, then you were gonna kill not just the

Two Towers but The Return Of King -

Peter Jackson, The Taming Of Smeagol(Documentary, 2003)

As the character was well established in the script and in artwork, the only way to create Gollum

and his movements was with CGI animation. The technology evolved to a point where creating a

digital character, although not an easy task to do had become relatively easier with the availabilty of

technology. After many attempts at creating Gollum and no success with animating him to a

sufficient standard, actor Andy Serkis was cast as the physical representation of Gollum and the


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voice of the character. The benefit of having a real actor play a CGI character meant that the actors

had a reference point for action within a scene.

The character changed significantly because of Andy Serkis performance and the material that was

written because of it. Specifically, the use of Motion Capture became prominent with Gollum. By

referencing joints on the body of the actor with dots collecting information, a digital version of

Gollum could appear on screen as though it was on set. The animation looked realistic and

techniques emerged from the development of the character. This allowed the production to attempt

live-action motion capture with the actors and Peter Jackson did this specifically on the last two

films of the trilogy to emphasise the importance of Gollum and the movements he was doing

onscreen. The achievement of using digital technology to make a character in a script come to life

was remarkable for its time.

The benefit of the motion capture technique allowed the screenwriters to learn a new way of

interacting with digital technology in a way they could create new scenes unimaginable on that

scale of production. It was a perfect way of fusing technology in film and the emotional demands of

a story without comprising one for the other to work. It was a new form of characterisation that

hadnt existed until that point.

(fig.1- Andy Serkis & the digital character of Gollum)


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It goes without saying Gollum was created by an army of immensely talented artists, animators,

technicians, fellow actors, great screenwriters and the genius of a director- (Serkis, 2003, p.1)

To summarise, Andy Serkis is saying that without all of those elements in place the character

wouldnt have worked as effectively as it did in the films. Therefore, it reinforces the idea that story

is the most important part of film. If there are good actors, a good crew and a strong sense of where

the story is going, using visual effects will only add to the film itself. Without a story, none of it

would work. The influence of digital technology and the techniques available enabled the

filmmakers to reimagine the potential of what films could do. Specifically with adapting a trilogy of

fantasy novels into blockbusters, the filmmakers have to take reality into account with casting

actors, shooting and locations. However with the character of Gollum, a CGI character that relied

heavily on technology, there was collaboration between departments to help integrate him into the

story.

With the final film Return Of The King, the use of technology had become more prominent. Peter

Jackson was able to shoot live action motion capture with the use of filming cameras. This was an

effective filmmaking strategy because it saved time for the production and it created new techniques

that filmmakers could incorporate into their films. As the story from the second book was


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incorporated into the third film, the writing was crucial in ensuring that it could reach a satisfying

conclusion.

Another aspect to take into account is a films release. The release date of a film is critical to

securing an audience, especially for big-budget blockbuster franchises. Lord Of The Rings: Return

Of King (Film, 2003, New Line Cinema)was released on December 17th 2003, three months

before the Oscars. The timing of the release meant it could be considered for nomination. Unlike

most blockbusters of its nature being released in the summer, by having a winter release the film

could be nominated for the Oscars. This was a strategy used by several directors and producers to

ensure their films got the right audience and were likely to be nominated as a result of their release

date.

When Return Of The King was an incredible success with audiences worldwide, there were talks

of Oscar nominations. In total, it was nominated for an incredible 11 awards, including Best Film,

Best Director and Best Adapted Screenplay. The significance of this was huge for the fantasy and

science-fiction genres, both of which had been largely ignored by Hollywood at that point. It was a

welcome recognition of the advances in technology that the films had made and the popularity of

the films because of their audience. In an interview shortly after winning Best Director and Best

Film, Peter Jackson stated,

"There were moments of absolute joy when the crew were winning, it was amazing but it's

excruciating because best director and best film are the last awards, it takes a hell of a long time to

get to those (http://news.bbc.co.uk/)

The success of The Lord Of The Rings trilogy through its use of practical effects and digital

technology made it possible for storytelling to develop further towards digital technology. While the
http://news.bbc.co.uk/http://news.bbc.co.uk/http://news.bbc.co.uk/


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entire trilogy is an achievement, the use of motion capture and SFX to create the world of writer

JRR Tolkiens book from shooting on location in New Zealand changed the film industry forever.

Return Of The King made over $1 billion dollars from the worldwide box-office sales. From its

release to the time it left cinemas, it became the second-highest grossing film of all time and highest

grossing film of 2003.

The Lord Of The Rings Trilogy made a combined $2.92 million dollars at the box office and made

Peter Jackson a big name in Hollywood, next to Steven Spielberg and George Lucas as an innovator

in digital techniques and developments. Peter Jackson and his writing partners Philippa Boyens and

Fran Walsh created three films from Tolkiens book. The author, before dying in 1973 had called

Lord Of The Rings an unfilmable book and with the advances in digital technology it became a

reality.

Chapter 4

With emerging technology such as motion-capture and 3D enhancing filmmaking with new

techniques, there is always a need to be innovative. Screenwriters can imagine anything they want

to see onscreen as visualise it as a reality. In film, the reality is usually a number of different

departments working together towards the goal of the production. Writing for film has become more

creative because the audience want to see new stories being told. Their experience of the cinema

encourages studios like Warner Brothers, 20th Century Fox and others to develop innovative

screenplays into entertainment. Therefore, allowing screenwriters to write for different genres,

mainstream or independent and build a profile of work.

Family Films are a vital marketing point for Hollywood studios. The psychological effect on the

audience makes them want to go and see a film. Therefore, they spend money on an experience.

Screenwriters have an opportunity to profit from writing these films because studios make a lot of

money from them. Specifically in recent years, trends have become important in determining how


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films may or may not work with their audience. A film aimed at kids with humour may aimed more

at boys than girls or vice versa. The challenge that any film studio makes with commissioning a

film aimed at these markets is finding a way to bring it to the audience. How can a film to made to

engage with children as well as with adults?

In 2002, a number of films that had been previously certified 12 were labelled 12A because cinemas

and local authorities were hindering the original rating of the film. Therefore, this new rating

allowed children to see a film if accompanied by an adult. In the last decade, comic book films have

become a valuable commodity in todays film-making. The success of films like X-Men (Film,

2000), Spiderman (Film, 2002) and several others have enabled innovative technology to develop.

Significantly, the use of HD (High Definition) cameras has become increasingly used in this genre

to create realism and give films a structured, polished look. Directors were further able to see films

as clearly as their vision dictated.

The 2008 sequel to the critically acclaimed box office smash Batman Begins (Film, 2005) did

something unique to the comic book genre. Its title was simply The Dark Knight with no mention

of Batman in the title. A standalone title that allowed comic book fans and non readers to see the

film for what it was, not by an image. The plot, narrative and style of the film was kept under wraps

to prevent spoilers about the production. The challenge the film had set out as being part of the

comic book genre was in the telling of the story. Would the story be coherent, engaging and clear

for an audience to grasp? How could technology be used to help rather than hinder the narrative?

"I feel quite strongly the audience can tell the difference between things that are animated and

created in the computer and things that are photographed - Christopher Nolan


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Nolans approach was simple, use practical effects where possible. In the opening sequence, a bank

robbery occurs where a group of criminals break into a bank. Progressively, they all kill each other

out of greed and one character is left standing. Rather than use the cliche explosion or the bank

surrounded by law enforcement, Nolan uses a very simple way of tackling the situation with the

character of the bank manager. This character played by actor William Fichtner fights back against

the criminals killing some in the process. However, the twist in the scene itself is that after he has

been killed, it is the reveal of the Joker played by Heath Ledger. This opens the film on a sombre

tone, uncommon in comic book films. It was the first film of its genre to push the boundaries of

what a film was capable of with practical effects and/or limited use of technology.

With Nolans interpretation of Batman, it all came down to the story and as a director/cowriter of

the film, it was the most important aspect when creating the film. He used the story to his advantage

with the character of the Joker. By using the form of a comic book movie, he was able to make

statement on the chaos of terrorism. This was uncommon with the genre as it had been geared

towards family entertainment and fun. Christopher Nolans Dark Knight was an epic feat in

filmmaking but moreso, it was an interesting look at the comic book genre from a real perspective.

(figure.1 - 35mm/IMAX)


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Christopher Nolan used IMAX cameras to shoot specific scenes for the film, including the opening

sequence and the pursuit of the Joker later in the film (see. fig.1). IMAX gives the filmmaker an

opportunity to shoot a scene in higher resolution and greater size which adds to the realism of the

film, specifically if it is driven by SFX and technology. By shooting in IMAX, Christopher Nolan

was able to create a more realistic and interesting landscape for the film. Although, he used special

effects to enhance some of the action sequences, the majority of the film was shot without any. It

was the use of practical effects that helped seperate it from other films within its genre.

Director Christian Nolan stated a featurette entitled !In Camera - The Dark Knight!(2008),

!We tried to approach all the big gags of the film from the point of view of doing as much for real as

possible. Because I think the audience is inherently aware of a fully computer generated image. So

even where we"ve had to enhance things with visual effects, we"ve tried to do an impressive stunt to

get something very impressive in camera"

(fig.2 -Storyboard for The Dark Knight)


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To get this approach, Nolan and his crew storyboarded each sequence, placed them into a computer

and used the previsualisation process to create sequences that used real action over digitalisation.

The benefit of using practical effects is if they are used in the right way, they can communicate the

reality of the film to the audience. This was Nolans original vision in that he didnt see the films as

a way of being overindulgent with special effects and technology. The story had to justify the means

of action. The only problem from a production standpoint of using practical effects is there can be

limitations, most significantlybeing cost. Writing a film is cost effective. Its from the imagination of

the writer and therefore is untouchable.

(fig.3 - script for Dark Knight Rises)


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However, in making the script a film on the scale of The Dark Knight, digital technology is

needed to further the process along. Although, it can be realistic in portraying a story to the

audience, what digital technology can struggle to do is create effective reality to an audience.

Practical effects and environments will always be a constant in film because most stories are set in

reality, regardless of genre or tone. Nolans greatest feat with the The Dark Knight is that he took

an ideabased around the comic-book genre and effectively created a reality to the film. It set the bar

high forfuture comic book films with its innovative style without compromising on story and thats

a difficult thing for a director when producing scripts for film.

The Dark Knight is a perfect example of a film that has been able to work with digital technology

and implement it sparingly into the story. It has big action sequences, two hander scenes wit h

quieter tones, large set pieces that feature in the film and yet each piece of the puzzle is justified by

the story. Nolan wrote the script with his brother, Jonathan Nolan and in retrospect of his pre vious

films, story has always been the most important factor of his films. I would argue that the us e of

technology combined with Nolans vision to use practical effects helped make the story bett er and
http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/http://www.flickr.com/photos/teohyc/2751477217/


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more engaging. Films are meant to be entertaining and The Dark Knight surpassed expectations

when it was released in July 2008 worldwide. It grossed over $1 billion worldwid over a period of

five months and as of 2012, is the thirteen highest grossing film of all time.

The Dark Knight in a similar way to Lord Of The Rings adopted an approach that realism on

camera was needed in the telling of the story. However unlike the latter, Christopher Nolans film

relied more on practical effects and the ability to communicate to the audience a message. Nolans

filmmaking style is more direct and the story he is telling the audience is told from the point of view

of chaos. The screenwriting for The Dark Knight enhanced the effects in the film. Therefore,

creating a tone that made it unmatched as a comic book film and created a whole new perspective

of looking at the comic book film with realistic perspective displayed in the writing.

Conclusion

Screenwriting, as an industry is constantly developing and undergoing changes. The approach to the

writing of narrative has changed because of the audience. They are more aware of how films are

made because technology has allowed filmmaking to be more accessible. Innovative ideas and

changes to film concepts will always occur every few years. Digital technology and techniques of

filmmaking are going to consistantly evolve and implement themselves into stories.

In an interview I conducted with British writer/director Stephen Scott Hayward, he talked about the

impact of digital technology on the industry from his perspective as a writer.

I think overall it's been positive. It has certainly brought the film making medium into the reaches

of people that otherwise could never have afforded to make a film. Features are now being shot on

Reds, which are digital and cost under 20,000 to buy. This is an immense saving on previous

cameras- Stephen Scott Hayward (2012) (see appendix. fig.1)


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of how the film industry works and what possibilities there are for writers with the emerging media

in the 21st Century.

I conclude my question by declaring that Screenwriting is helping move modern technology along

and while there are differences between the imagination of a writer and the mind of an audience,

both of those entities are enabling the filmmaking process to move forward. Screenwriting and

Modern Technology can be used in any film as long as they are justified in the story for the film.

One cant work without the other. A writers imagination and the audiences perception of that are

what making writing films such as productive and rewarding medium.

It all starts with the story and the script.


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Bibliography

Books

I. FIGGIS, Mike. Digital Film Making, Faber & Faber, 2007

II. GAFFNEY, Freddie. On Screenwriting, Auteur, 2008

III. MC KEE, Robert.Story: Substance, Structure, Style & Principles Of Screenwriting,

Methuen, 1999

IV. NEALE, Steve.Genre and Contemporary Hollywood, British Film Institute, 2002

V. NOLAN, Christopher. NOLAN, Jonathon. S.GOYER, David. The Dark Knight Trilogy: The

Complete Screenplays, Faber & Faber, 2012

VI. SERKIS, Andy. Gollum: How We Made Movie Magic, Harper Collins Publishers, 2003

VII. SIBLEY, Brian. The Lord Of The Rings: The Making Of The Movie Trilogy, Harper

Collins, 2002

VIII.SHONE, Tom. (2004)Blockbuster: How the Jaws and Jedi Generation Turned Hollywood

Into A Boom-Town, London Scribner

IX. TODOROV, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre, Cornell

Paperbacks, 1975

Films

I. American Psycho. dir. Mary Harron, USA, 2000

II. Lord Of The Rings: The Fellowship Of The Ring, New Zealand, 2001

III. Lord Of The Rings: The Two Towers, New Zealand, 2002

IV. Lord Of The Rings: Return Of The King, New Zealand, 2003

V. The Dark Knight. dir Christopher Nolan, USA, 2008

VI. The Wrestler. dir. Darren Aronofsky, USA, 2008


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Documentaries

Dreams On Spec. dir. Daniel J Snyder, 2007

The Greatest Movie Ever Sold. dir. Morgan Spurlock, 2010

Lord Of The Rings: Extended Editions (Special Features) DVD, 2002, 2003 & 2004

I. Fellowship Of The Ring - From Book to Script.avi

II. Fellowship Of The Ring - Cameras in Middle-earth.avi

III. Fellowship Of The Ring - Editorial - Assembling an Epic.avi

I. The Two Towers - From Book to Script - Finding the Story.avi

II. The Two Towers - The Taming of Smeagol.avi

III. The Two Towers - Andy Serkis Animation Reference.avi

IV. The Two Towers - Warriors of the Third Age.avi

V. The Two Towers - Editorial - Refining the Story.avi

I. Return Of The King - From Book to Script - Forging The Final Chapter.avi

II. Return Of The King - New Zealand as Middle-earth.avi

III. Return Of The King - Cameras in Middle-earth.avi

IV. Return Of The King - Editorial - Completing the Trilogy.avi

V. Return Of The King - The End of All Things.avi

VI. Return Of The King - The Passing of an Ages.avi

Within The Ring: The Wrestler Documentary, The Wrestler (Bonus Features) 2009, DVD

In Camera - The Dark Knight, The Dark Knight (Bonus Features) 2008, DVD

Websites

http://entertainment.howstuffworks.com/dark-knight2.htm - November 27th 2012

http://en.wikipedia.org/wiki/The_Dark_Knight_(film) - November 24th 2012

http://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.html

- November 22nd 2012
http://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.htmlhttp://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.htmlhttp://en.wikipedia.org/wiki/The_Dark_Knight_(filmhttp://entertainment.howstuffworks.com/dark-knight2.htmhttp://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.htmlhttp://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.htmlhttp://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.htmlhttp://www.filmwad.com/nolan-to-shoot-i-dark-knight-i-in-imax-format-2642-p.htmlhttp://en.wikipedia.org/wiki/The_Dark_Knight_(filmhttp://en.wikipedia.org/wiki/The_Dark_Knight_(filmhttp://entertainment.howstuffworks.com/dark-knight2.htmhttp://entertainment.howstuffworks.com/dark-knight2.htm


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http://www.youtube.com/watch?v=pdXDAf7M2r8 - November 15th 2012

http://en.wikipedia.org/wiki/IMAX - November 14th 2012

http://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/

Scoping_the_lasting_effects_of_the_LOTR.pdf - November 12th 2012

http://en.wikipedia.org/wiki/Computer-generated_imagery - November 11th 2012

http://www.bbc.co.uk/films/2000/11/30/american_psycho_2000_review.shtml - November 11th

2012

http://en.wikipedia.org/wiki/British_Board_of_Film_Classification - November7th 2012

http://www.youtube.com/watch?v=AoKFtf4A_mc- November 5th 2012

http://www.youtube.com/watch?v=DnCsMVn9eeU - November 5th 2012

http://uk.imdb.com/title/tt0144084/trivia - November 5th 2012

http://uk.imdb.com/title/tt0144084/combined - November 3th 2012

http://parkablogs.blogspot.co.uk/2008/08/book-review-dark-knight-featuring_10.html - November

2nd 2012

http://boxofficemojo.com/alltime/world/- November 2nd 2012

http://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded - 26th October 2012

http://www.youtube.com/watch?v=R4ck_d7Qkqc - 26th October 2012

http://www.guardian.co.uk/film/2010/apr/23/andy-serkis-motion-capture-studio - 26th October

2012

http://wordnetweb.princeton.edu/perl/webwn?s=mise%20en%20scene - 24th October 2012

http://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-

screenwriter-and-a-client/- 22nd October 2012

http://news.bbc.co.uk/1/hi/entertainment/3506871.stm - 22nd October 2012
http://news.bbc.co.uk/1/hi/entertainment/3506871.stmhttp://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/http://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/http://wordnetweb.princeton.edu/perl/webwn?s=mise%20en%20scenehttp://www.guardian.co.uk/film/2010/apr/23/andy-serkis-motion-capture-studiohttp://www.guardian.co.uk/film/2010/apr/23/andy-serkis-motion-capture-studiohttp://www.youtube.com/watch?v=R4ck_d7Qkqchttp://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embeddedhttp://boxofficemojo.com/alltime/world/http://parkablogs.blogspot.co.uk/2008/08/book-review-dark-knight-featuring_10.htmlhttp://uk.imdb.com/title/tt0144084/combinedhttp://uk.imdb.com/title/tt0144084/triviahttp://www.youtube.com/watch?v=DnCsMVn9eeUhttp://www.youtube.com/watch?v=AoKFtf4A_mchttp://en.wikipedia.org/wiki/British_Board_of_Film_Classificationhttp://www.bbc.co.uk/films/2000/11/30/american_psycho_2000_review.shtmlhttp://en.wikipedia.org/wiki/Computer-generated_imageryhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://news.bbc.co.uk/1/hi/entertainment/3506871.stmhttp://news.bbc.co.uk/1/hi/entertainment/3506871.stmhttp://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/http://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/http://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/http://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/http://wordnetweb.princeton.edu/perl/webwn?s=mise%20en%20scenehttp://wordnetweb.princeton.edu/perl/webwn?s=mise%20en%20scenehttp://www.guardian.co.uk/film/2010/apr/23/andy-serkis-motion-capture-studiohttp://www.guardian.co.uk/film/2010/apr/23/andy-serkis-motion-capture-studiohttp://www.youtube.com/watch?v=R4ck_d7Qkqchttp://www.youtube.com/watch?v=R4ck_d7Qkqchttp://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embeddedhttp://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embeddedhttp://boxofficemojo.com/alltime/world/http://boxofficemojo.com/alltime/world/http://parkablogs.blogspot.co.uk/2008/08/book-review-dark-knight-featuring_10.htmlhttp://parkablogs.blogspot.co.uk/2008/08/book-review-dark-knight-featuring_10.htmlhttp://uk.imdb.com/title/tt0144084/combinedhttp://uk.imdb.com/title/tt0144084/combinedhttp://uk.imdb.com/title/tt0144084/triviahttp://uk.imdb.com/title/tt0144084/triviahttp://www.youtube.com/watch?v=DnCsMVn9eeUhttp://www.youtube.com/watch?v=DnCsMVn9eeUhttp://www.youtube.com/watch?v=AoKFtf4A_mchttp://www.youtube.com/watch?v=AoKFtf4A_mchttp://en.wikipedia.org/wiki/British_Board_of_Film_Classificationhttp://en.wikipedia.org/wiki/British_Board_of_Film_Classificationhttp://www.bbc.co.uk/films/2000/11/30/american_psycho_2000_review.shtmlhttp://www.bbc.co.uk/films/2000/11/30/american_psycho_2000_review.shtmlhttp://en.wikipedia.org/wiki/Computer-generated_imageryhttp://en.wikipedia.org/wiki/Computer-generated_imageryhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://nzier.live.egressive.com/sites/nzier.live.egressive.com/files/Scoping_the_lasting_effects_of_the_LOTR.pdfhttp://en.wikipedia.org/wiki/IMAXhttp://en.wikipedia.org/wiki/IMAXhttp://www.youtube.com/watch?v=pdXDAf7M2r8http://www.youtube.com/watch?v=pdXDAf7M2r8


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Appendices

Research - (Interview with British Writer/Director Stephen Scott Hayward, 2012)

(figure.1.)


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Dissertation - Progress Map

Week 1

Introduced the topic for the Dissertation How is Modern Screenwriting in Film constrained by

technology?

The four films I would be using as case studies in the first plan were Harry Potter and The

Deathly Hallows: Part 2 (2012) Forest Gump (1994) Avatar (2010), King Kong (1933 & 2005)

My approach to the Dissertation was that I would be arguing against the use of technology as

opposed to being pro-digital technology.

Week 2

Changed the films I would be using in my case studies. Emphasised particularly on using The

Dark Knight to show a comic book film, discusss the genre in the film. Easy Rider was added to

create a perspective for films that had been made prior to the extensive use of digital technology. I

placed Dracula in the place of Forrest Gump and Lord Of The Rings trilogy in the place of King

Kong.

I also looked at books by Tzvetan Todorov The Fantastic, Robert Mc Kees Story, Joseph

Campbells Hero with a Thousand Faces to add a level of theory to the version of the

dissertation I wanted to write.

Week 3

Changed the title of my dissertation to Is Screenwriting in Film conflicting with Modern

Technology? I did this because I struggled to build a convincing argument against the use of

digital technology in film. Therefore, I had to restructure my dissertation as it was written.

Confirmed Easy Rider (1969) The Lord Of The Rings Trilogy, The Dark Knight and Dracula

as the films to be discussed within the Dissertation.


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Did research into motion capture and actor Andy Serkis work within the medium http://

www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded#!

Looked at several documentaries on the Lord Of The Rings Extended Edition DVDs to build a

convincing argument and discussion into the films and how they were created. What technology

they used? How did the technology work in its favour?

Did research into the writing of Easy Rider and how it was filmed. Looked specifically at the

production itself being made on a small budget in the 1960s.

Made a plan from which my Dissertation was able to change, should the research develop the

question further and as a result, keep the focus of the Dissertation itself intact.

Week 4

Submitted my first draft of the Dissertation on Moodle for the Formative Assessment

Made notes on what I wouldve improved in it. Namely to improve my timekeeping and ensure

that my argument could be fleshed out properly. Especially with films I had chosen at that point.

Did further research into Lord Of The Rings and The Dark Knight as I intended to place heavier

emphasis on these case studies in the Dissertation itself.

Week 5

Discussed with my Dissertation lecturer where the Dissertation would be going. We both agreed

that the argument needed to be fleshed out further. Rather than use all major blockbusters, I was

recommended to use two films that had a smaller budget than

There were no completed chapters at this point, so I had to go back and look at the whole piece

again. What was I trying to say with the Dissertation? What did I want to argue in each chapter?

Scrapped the idea of using Easy Rider and Dracula as they were not relevant to my question so I

looked at doing The Wrestler and American Psycho instead.
http://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded#http://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded#http://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded#http://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded#http://www.youtube.com/watch?v=3Xy-8gwqsOE&feature=player_embedded#


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Week 6

Created questionsto use for interviewing purposes

Secured an interview with British Writer/Director Stephen Scott Hayward via email

([email protected]). Learnt considerably more about the film industry from a professional

point of view. His argument was mixed towards digital technology but he felt, as most writers and

filmmakers from my secondary research that without story a film couldnt work. The interview

helped me build a stronger argument for and against digital technology in film. However, it

made it more coherent in terms of understanding the function of technology in film writing and in

the narrative sense.

Watched American Psycho and made notes on it to included in the dissertation. After watching it,

I researched it as a film and the impact that the film had on its audience. The psychological

effect as well as the films message to the audience convinced me that I had made the right choice

with choosing the film for my Dissertation.

Re-typed the Introduction chapter to fit the theme of the Dissertation and address the films I

would be discussing as well as covering the new research I had done regarding the argument of

Screenwriting conflicting with Modern Technology.

Week 7

Developed the research further by looking at marketing for films. I watched Morgan Spurlocks

The Greatest Movie Ever Sold to understand the marketing side of film and understand the

function of marketing in ensuring an audience will see a film. http://www.youtube.com/watch?

v=T4Ng2P3zxfM

Wrote material for The Wrestler and American Psycho to include as research and as source

material to relate back to during the Dissertation process.
http://www.youtube.com/watch?v=T4Ng2P3zxfMhttp://www.youtube.com/watch?v=T4Ng2P3zxfMmailto:[email protected]://www.youtube.com/watch?v=T4Ng2P3zxfMhttp://www.youtube.com/watch?v=T4Ng2P3zxfMhttp://www.youtube.com/watch?v=T4Ng2P3zxfMhttp://www.youtube.com/watch?v=T4Ng2P3zxfMmailto:[email protected]:[email protected]


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Week 8/Week 9

I began typing up the final version of the Dissertation, checking for errors in spelling and

grammar. I looked up the dates I researched the technology I mentioned in the dissertation and the

films included in the case study research. I built up the Bibliography by Films, Websites,

Documentaries, Books and Interviews to help build up my research and back up my question.

Ive realised through the Dissertation process as Ive been writing it that its purpose is to change

your perspective on your industry and I feel that with the research and the work I am doing and

continuing to do is helping me reach my goal in answering the entitled question. Is Screenwriting

In Film conflicting with Modern Technology?

Mindmap


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ORIGINAL DISSERTATION PLAN

A. No.(American Psycho) More films are being made with special effects, which means that the

audience is not being challenged as much as they were in the past. Action films are being made

because they features guns, guys with muscles and sexy women. Therefore having no purpose to

the story of the film. There are several films made that are dependent on the spectacle and the

technology isnt being furthered. Film companies are struggling to make money in the economic

climate & the need for a blockbuster is vital. Its not about giving the audience great films, its

about being able to break even. Its become harder to make original stories that keep the audience

involved.

B. Yes/No(Dark Knight) It is more expensive to use computer generated environments than real

ones. The benefit is that while it looks good, it takes alot of money to make it happen. The

downside is it prevents the film from having any basis in reality. Writers often write to a

specification & the summer blockbuster is the perfect vehicle for CGI-influenced films.

However, its a formula. Making more films on cheaper budgets means its harder to source the

good from the bad. Its also difficult to know what audiences want to see if the formula (ie Comic

Book movies, Westerns) is repeated to a point where they get bored of it. Is the technology

hindering our ability to view to story? Or enlightening us, the audience that CGI be used in film

where it has a purpose in the storytelling.

C. No - (Lord Of The Rings) Innovative techniques have emerged that have made the storytelling

purpose easier, like motion-capture, bluescreen/greenscreen, 3D, HD cameras and IMAX.

Groundbreaking films have emerged, particularly comic book films. Franchise films that make

use of SFX have increased because of financial success at the box office. Therefore, the need to

further the technology has developed a need to entertain audiences in different ways.

Screenwriters have more possibilities in film to pr


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D. Yes/No - (The Wrestler) - Used a convincing, realistic storyline to tell the story of the main

character and his life as a Wrestler. Although digital technology was used in the editing, it was

shot in a documentary style format which was not unique for independent feature films. It was

fairly common. Therefore by using this approach, it wasnt conflicting with technology but it

couldve possibly gotten a wider release if it had used special effects in the storytelling.

However, the story is the most prominent point and focus of the film and the writing worked

without the need to emphasise special effects or artistic film-making in the scene.

is screenwriting in film conflicting with modern technology?

Documents