Can I have Branliest for the Correct Answer? Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
<span>In Doctor Faustus's obituary, you could include that he became a Doctor at the University of Wittenburg due to his intelligence, that he had already excelled in every subject (law, medicine, etc.) so he began to experiment with magic, and that he devoted his last days to giving a speech about his foolish pact with Lucifer, seemingly warning other scholars against his own faults. </span>
Friedan describes the period of the 50s in which the educational model, disseminated after the Second World War, was aimed at women deciding to choose the option of returning home, after having conquered the right to vote and education and of having agreed to a job. The mystical expression of femininity, according to its author, is used to describe a conglomeration of traditional discourses and assumptions about femininity that hinder intellectual commitment and the active participation of women in their society. Without economic independence, the way of life of the housewife in this new technological home, produces loneliness, depression and other medical cadres qualified as "typically female". Friedan analyzes the economic system in which women are sold an identity consistent with the family unit of consumption in which the family has been transformed.
Answer: The character of Polonius is complex because he practices deception in the Act III of Hamlet.
<u>Explanation:</u>
In the Act III of Hamlet, the character of Polonius is shown as a deceptive character. The proof for this is given in the excerpt. There was a deal made between Polonius and Claudius. According to this deal, Polonius was going to hide in the chamber of Gertrude. The reason for this hiding is that he wanted to hear the conversation between Hamlet and his mother and this can be done only by hiding himself.
Along with this of hearing the conversation by hiding himself in the chamber, he also wanted to convince Gertrude that Gertrude should not be so partial towards Hamlet . This made him have a deceptive character in the act and because of this he is said to have a character which is complex in the Act of Hamlet.
The missing pages in Dr. Yu Tsun's statement become an extended metaphor <u>that helps solve the mystery</u>.
Explanation:
The pretentious student of history continues to reveal his trump card. It's a statement or a type of oral declaration given by an observer to be utilized in a preliminary. For this situation, the affidavit is managed by a man named Dr. Yu Tsun, and the initial two pages are absent.
The remainder of the story is the testimony, told from the perspective of Dr. Yu Tsun. Since the initial two pages are "missing," we begin in mid-sentence.
