ABSTRACT
How the film is put together, in whole and in part. Nature of acts, sequences, scenes, montages, vignettes. Parallel action. Concept of the narrative unit. Beginning, middle, and end. Linear and non-linear structure. Re-ordering of the narrative (Pulp Fiction, Memento). Three-act structure. As orthodoxy. Elements of three-act structure. The Act Two mid-point and four-act structure. Nature of Act One. Nature of Act Two. Nature of Act Three. The denouement. Dangers of three-act structure. Success of three-act structure (Rear Window). Other structures (Wild Tales). Structure evolving vs. as template. Cultural and historical context of structure. Structure as a succession of narrative units. Martin Scorsese on structure. Structure in TV (Breaking Bad, The Sopranos, The Wire). Structure in short films. Two-act structure, joke structure. Narrative unit structure in Before Dawn. Prologue, three acts, coda in Before Dawn. Incremental/episodic approach to structure. Necessity for the director to understand structure. Effects shifts of rhythm, pace, mood, tone, energy, moment, light, space, place, the picking up of new narrative threads. Structure as map of the film. Story about myth — not math.
