| |
| |
| Acknowledgments | |
| |
| |
| Introduction | |
| |
| |
| |
| |
| |
| |
| Beginnings and Overview | |
| |
| |
| Some Questions for Writers | |
| |
| |
| Scripts and Their Interpreters | |
| |
| |
| Conceptualizing Your Story | |
| |
| |
| Elements of Conceptualization | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Understanding Your Audience | |
| |
| |
| Public and Private Arts | |
| |
| |
| Public Arts in the United States | |
| |
| |
| The Origins of Public Art | |
| |
| |
| How People Use the Public Arts | |
| |
| |
| Analyzing the Public Arts | |
| |
| |
| Schools of Criticism | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Needs and Desires in the Public Arts | |
| |
| |
| Human Needs and Desires | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Universal Themes in the Public Arts | |
| |
| |
| How Concerns Become Themes in the Public Arts | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Form in the Arts | |
| |
| |
| The Storytelling Arts | |
| |
| |
| Temporal Form | |
| |
| |
| Temporal Versus Spatial Form | |
| |
| |
| Chronological Form of Stories | |
| |
| |
| Complex Plots | |
| |
| |
| Logical or Thematic Form | |
| |
| |
| Combination of Chronological and Thematic Forms | |
| |
| |
| Form in Dramas | |
| |
| |
| Form in Radio and Television Scripts | |
| |
| |
| Questions | |
| |
| |
| |
| Catharsis | |
| |
| |
| Physiological Catharsis | |
| |
| |
| Psychological Catharsis | |
| |
| |
| Experiencing Catharsis | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Modes in the Storytelling Arts | |
| |
| |
| Purpose and Vision in the Storytelling Arts | |
| |
| |
| Forms in the Dramatic Arts | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| The Anatomy of Comedy | |
| |
| |
| Villains and Comics | |
| |
| |
| Release and Relief | |
| |
| |
| Biological Instinct | |
| |
| |
| Incongruity, the Incompatible, Expectation | |
| |
| |
| Psychoanalytic Theory and Sigmund Freud | |
| |
| |
| Comic Form and Function | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Heroic Vision, Form, and Function | |
| |
| |
| Origins of the Heroic Vision | |
| |
| |
| Examples of the Heroic From Antiquity | |
| |
| |
| The Heroic Mode After the Golden Age | |
| |
| |
| The Changed View of Human Nature | |
| |
| |
| Melodrama and Heroic Form | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Tragic Drama through the Ages | |
| |
| |
| The Origin of Tragedy | |
| |
| |
| Tragic Form and Function | |
| |
| |
| Tragic Drama Today | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| |
| |
| |
| From Theories to Practice | |
| |
| |
| A Public Service Announcement Campaign: A Case History | |
| |
| |
| Starting a Project | |
| |
| |
| Using What Your Sleeping Mind Gives You | |
| |
| |
| Before Writing Your First Draft | |
| |
| |
| Writing Your First Draft | |
| |
| |
| Editing Your Drafts | |
| |
| |
| Writing Sights and Sounds, Not Words | |
| |
| |
| Avoiding Discrimination | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Scripts Formats and Notes about Scripts | |
| |
| |
| Script Formats | |
| |
| |
| Notes about Scripts | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Commercials | |
| |
| |
| Determining the Parts and the Structure | |
| |
| |
| The Introduction--Gaining Attention | |
| |
| |
| Retaining Interest During the Body of a Spot | |
| |
| |
| The Structural Concept of "The Rule of Three" | |
| |
| |
| Narrative Commercials | |
| |
| |
| Dialogue for Two or More Voices | |
| |
| |
| Production Commercials--Music, Sound Effects, Voices | |
| |
| |
| Writing for Products That Lack Logical Appeal | |
| |
| |
| Television Commercials | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Narrative Scripts | |
| |
| |
| Essays and Commentaries | |
| |
| |
| Station Editorials | |
| |
| |
| Reviews | |
| |
| |
| Impressions | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Production Scripts: Reports and Sound Portraits | |
| |
| |
| Feature Reports | |
| |
| |
| Sound Portraits | |
| |
| |
| Informational Communications: Industrials | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Writing Comedy | |
| |
| |
| Attitudes | |
| |
| |
| The Initial Concept | |
| |
| |
| Plotting Comic Dramas | |
| |
| |
| Comic Sketches | |
| |
| |
| Character and Dialogue | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| Media in Community Service | |
| |
| |
| Two Case Histories | |
| |
| |
| Public Service Announcements (PSAs) | |
| |
| |
| A Case History: Producing a PSA | |
| |
| |
| The Advertising Council | |
| |
| |
| PSAs by Students | |
| |
| |
| Questions | |
| |
| |
| Notes | |
| |
| |
| |
| A Compendium of Scripts | |
| |
| |
| Feature Reports | |
| |
| |
| Public Service Announcements | |
| |
| |
| Commercials | |
| |
| |
| |
| Eighty Universal Themes | |
| |
| |
| Physiological Themes | |
| |
| |
| Animal Themes | |
| |
| |
| Danger Themes | |
| |
| |
| Imaginary Creatures Themes | |
| |
| |
| Sex Themes | |
| |
| |
| Wish-Fulfillment Themes | |
| |
| |
| Love Themes | |
| |
| |
| Archetypal Themes | |
| |
| |
| Nonuniversal Themes of Human Actualization | |
| |
| |
| Notes | |
| |
| |
| |
| Arthur Miller's Essay on Tragic Drama in the Modern World | |
| |
| |
| Tragedy and the Common Man | |
| |
| |
| |
| Index | |