LO1: Analyzing Scripts

 LO1: Analysing Scripts

UK Film: Monty Python's Life of Brian (Life_Of_Brian.pdf)

The script for Monty Python's Life of Brian uses a juxtaposing colloquial, restricted mode of address to characterize Mandy, Brian's mother, to contrast the elaborate (code) speech used by the three wise men. The effect of this is to satirise the sanctity attributed to the story of Christ for the effect of comedy as the film's genre therefore, creating a parody of an otherwise conventional story. This contrast of elaborate and restricted code reflects the spending power of an ABC1 & C2DE audience through the satirization of class stereotypes for the purpose of humour. The age demographic indicated by these themes are 15+ due to the requirement to understand class difference in the perpetuation of stereotypes however, with emphasis on humour rather than brutal themes which can be associated with religion (e.g. a narrative like Outlast 2) the audience doesn't have to be (and is expected not to be) wholly mature. 

The stage directions and location descriptions convey the genre of comedy too through remarks to the audience and the portrayal of the set design 'The audience thinks ('They're really doing it!') and descriptions of characters 'They approach the mother. She is a ratbag.' Discourse is segmented within paragraph structure (within size 12 courier new font) for directions/co-text and proper adjacency plans for interchanges between characters.   

The script of Life of Brian is both linear and single-stranded as it follows the events of the film's protagonist in a traditional story narrative structure where the equilibrium of Brian's normal life is interrupted as he joins against the Romans with the final new equilibrium ending with him on a cross. This conveys the mix of ABC1 and C2DE representation through how easy the script structure is to follow for an average audience member by following traditional narrative conventions.

The order of events throughout the film also remain linear.

Drama: Killing Eve (118-Killing-Eve-Ep.1-BBC-AMERICA-Seamless-Script_2.pdf)

As conventional, the script for Killing Eve uses size 12 courier new font with the elaborate description of events to give examples of imagery, location and stage directions to actors within the first scene. Discourse through introductory paragraphs/sentences provide context for what is happening on screen. This is inclusive of transitions denoted by 'EXT. Austria. Vienna. Ice Cream Parlour - Evening - INT. Eve's House. Bedroom - Night' and the introduction of the title card cue highlighted in bold 'Killing Eve'. 

The order of the script is non-linear as there are cuts to different locations at different times with a vague sense of continuity between them however, as the episode progresses, events become linear as the audience follows Eve and Villanelle throughout the episode. 

Relevant mode of address is peer-peer, especially true during interchanges between characters which share connotations of intimacy like Niko (Eve's husband) and anyone Villanelle meets due to her characterization as a psycho/sociopath which juxtaposes the changing mode of address and attribution of archetypes used by Eve. Contrasting examples would include intimacy with Niko such as 'Jesus. My Heart. You freak!' to an office meeting with 'This is Carolyn Martens. Head of Russian Desk.' where student - teacher mode of address is used. This professionality conflicted with the toying words of 'Were you scared. Did you think I was dead!' used sarcastically by Villanelle convey the genre of thriller and crime with a professional but vulnerable detective and a careless psychopath. The Non-linear structure through cuts in times and location between Eve and Villanelle; contrasts/cuts between restricted and elaborate codes, and ABC1 representations indicate an ABC1 audience. The mature themes of characterisation and depiction of psychopathic behaviour indicate a mature 18+ audience.

Killing Eve's script is further emblematic of its ABC1 target audience as a multi-stranded, non-linear narrative which shifts between character and locations through cross-cut to highlight the juxtaposing dichotomy of protagonists Eve and Villanelle. Examples of this are evident in the first episode where the script shifts from Eve in London to Villanelle in Paris. The traditional story structure of the episode follows Todorov's narrative structure theory (1977) as the episode's structure goes through a loss of equilibrium with the introduction of Villanelle's murders and a new equilibrium as Eve is promoted to work as a secret investigator into her case. 

Radio Drama: The War of the Worlds 1938 ('The War of the Worlds' radio script from October 30, 1938)

The radio drama broadcast for H.G. Welles' sci-fi novel, The War of the Worlds, is infamous for how it convinced audiences that a real alien invasion was taking place during the time of its air. Part of this is attributed to the elaborate code and teacher to pupil mode of address which signify the professionality of traditional radio broadcasts, as something people look up to for information. The order of events further this through linear running order to create continuity which furthered audience immersion. 

The grounded retelling of the sci-fi genre is furthered through stage directions and prompts for the drama to follow; conventions of normal radio such as news stories, this in the case of gases sprouting from Mars, and the cuts to music played a part in overly-immersing the audience. Conventional radio, linear, running order. The ease of access to the show through radio broadcast furthered the mass hysteria as ABC1 and C2DE audiences fell under the broadcast's clever guise. However, conventional to other radio dramas, the retelling of the novel's events are intended for a mature ABC1 demographic. Within the context of a novel's adaptation, a similar target audience of educated individuals, interested in the base text which has a pre-existing audience of 15+ who can distinct reality to fiction. 

The script's narrative structure is linear with a traditional order events with equilibrium broken by the Martian invasion and returned as they're eventually taken out by disease. This follows a singular narrator, creating a single-stranded narrative which audiences can easily follow, therefore, representing the broad radio appeal toward both ABC1 and C2DE audiences. 

The order of the script was also written in size 12 courier new to ensure no mistakes under live radio broadcast through an easily readable font. 

Computer Game: Darkest Dungeon (Narrator (Darkest Dungeon) - Darkest Dungeon Wiki)

Darkest Dungeon's narrator, The Ancestor, played by Wayne June, a voice actor accredited to his audiobook readings of H.P Lovecraft, is distinct for his overtly elaborate code and parent - child mode of address which is used to characterize his tragedy. As following conventions of scripts, despite lack of online availability, it can be assumed that the words which Wayne June was instructed to read, including vocal directions for context, such as prompts are delivered by way of a flow chart, were written in size 12 courier new. However, as evidenced through online archives, the dialogue of The Ancestor is presented through flow chart programming to create an immersive response to what the player has done. Examples include defeating a large monster with randomized responses like 'Monstrous size has no intrinsic merit, unless inordinate exsanguination be considered a virtue'. More specific responses which enter a flow chart of player agency such as 'Healing - is the character at death's door - is the heal critical' a randomized response with examples such as 'Death cannot be escaped! But it can be postponed.' Events of the game are also linear with passing time as The Ancestor speaks to the player from his grave like a ghostly apparition; the elaborate code furthering this to create the genre of fantasy horror. The flamboyant and judicious dialogue also indicates an ABC1 audience with an educated background to understand Lovecraftian influence and the context of the script's story. Examples of metaphorical, lexical juxtaposition such as 'You remember our venerable house, opulent and imperial. It is a festering abomination!' evidence this kind of audience. Connotations of age demographic are signified through connected interest of H.P Lovecraft within the narrative of Darkest Dungeon and contextual influence surrounding it therefore, signifying a mature 18+ audience.

The delivery of lines of dialogue for Darkest Dungeon is entirely based on player interactivity therefore, creating a single-stranded, linear narrative for the audience to follow; the only instance outside of this being the prologue introduction which is delivered in past tense. The way the game's story plays out narratively begins with the world in disequilibrium and tragically ends in that same state: the progression of events to reach the ending is also non-traditional with little narrative progression as the player improves the strength of their characters.