Drama

Aristotle in Hollywood (Studies in Scriptwriting) by Ari Hiltunen

By Ari Hiltunen

During this booklet, Ari Hiltunen explains the secret of the right kind excitement which, based on Aristotle, is the target of drama and will be led to by utilizing definite storytelling ideas. through analyzing the main recommendations and common sense of the Poetics and analysing Sophocles' tragedy Oedipus Rex, the writer explains Aristotle's perception and relates it to drama, movie, tv and multimedia this present day. Hiltunen concludes that Aristotle's rules and insights are as legitimate at the present time as they have been over 2000 years in the past. This ebook could be of curiosity to all these operating and learning within the fields of conversation, media and writing.

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Additional info for Aristotle in Hollywood (Studies in Scriptwriting)

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I believe that Aristotle’s pity and fear are functionally the same as empathy, identification and suspense, which together bring about involvement. The more involved the audience are, the more pleasure is created. However, the audience must be released from the pity and fear in order to effect catharsis and thereby experience the ‘proper pleasure’. Because this does not occur at the end of Oedipus Rex, it is understandable why Aristotle was not happy with its ending. 5 Catharsis – Release from Pity and Fear Because Aristotle does not actually define catharsis, its essence in drama and the epic has to be deduced from both the plot structure and the definitions of pity and fear.

The ancient classic pattern of the hero’s journey does create the Aristotelian pleasure in many respects. There is a community or innocent victim threatened by danger (undeserved suffering), a hero who begins a journey of rescue (action in order to attain a morally good goal), facing dangers and difficulties (which create suspense), who returns victorious with the elixir which brings happiness to the whole community and the realisation of moral justice. Identification-suspense-happy ending is the emotional pattern corresponding to the standard story pattern that produces the ‘proper pleasure’ of the hero’s myth.

Despite their earlier impression, the audience on reflection appreciate the symbolic beauty of the end of the drama in which the lovers are united in eternity. This is implied in the Romeo’s words just before he hears of Juliet’s death: I dreamt my lady came and found me dead; (Strange dream, that gives a dead man leave to think,) And breath’d such life with kisses in my lips, That I reviv’d, and was an emperor. Ah me! how sweet is love itself possess’d, When but love’s shadows are so rich in joy!

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