The traditional model of movie drama of movie drama model

For example, since Aristotle, theater has gradually formed a structural pattern: Aristotle believed that the structure of a play must be divided into three sections, such as the beginning, middle and end. Later, people felt that the climax of a play was particularly important and should be emphasized, so the expression "beginning, end, transition and unity" appeared. It was Hegel who summarized the structural idea of "Law of Conflict", and he believed that dramatic conflict is the basis of layout, and he further developed Aristotle's three-part statement about "head, body, and tail": "The starting point of the synthesis should be The beginning of the ensemble should be in the situation that leads to the conflict, which, though it has not yet broken out, is bound to be exposed in further development. The end, on the other hand, cannot be reached until the conflict disputes have all been resolved. The middle part which falls between the head and the tail is the struggle between characters with different and conflicting aims." In fact, since then and up to today, this has become a universal structural law followed in the art of playwriting, including movies. For example, in the book "The Theory and Technique of Playwriting in Drama and Film" written by the famous playwriting theorist Lawson, the structural principle centered on the "Law of Conflict" is introduced into the theory of film playwriting. In the field of teaching film dramaturgy, there is a widely circulated textbook: Sydney Feld's "Film Dramaturgy". The Fundamentals of Screenwriting" by Syd Field. In the part about structure, he still takes the "Law of Conflict" as a law that playwrights must strictly abide by. He thinks: the beginning of a movie is to build up the conflict; the middle part is to develop the conflict and make the two sides of the conflict fight each other again and again; the so-called climax is the outbreak of the conflict, which is the climax of the conflict, and is therefore the decisive moment of the conflict; the ending is nothing but the end of the conflict, which is the end of the conflict. The ending is the final result of the conflict. It can be said that movie scripts created with such principles are still the mainstream of movie structure today. This principle, which people today call "dramatic structure," is still the basis for our teaching of film drama. Without mastering such a structural model, people would not have been able to create countless movie scripts such as "The Changing Face", "Heaven and Earth Crash", "Life and Death", "The Day We Left Lei Feng", "The Three Battles", and "The Red River Valley"...... . Students at the Beijing Film Academy often belittle the traditional, yet they eventually discover, as they move out into the world, that the traditional will become the watchword for their livelihood.

The pattern of a movie's plot seems more complex than the pattern of its structure, but the tendency toward pattern could not be more pronounced. As early as the end of the 18th century, Western dramatists reduced the plots of plays to 36 plot patterns, and the famous 36 patterns have been recited to this day, where they remain a tool for the study of playwrights' plots. Of course, many of today's movie dramas have gone beyond the 36 patterns, but after all, the 36 patterns cover the largest area of movie drama plots. It is true that people have pursued breakthroughs from the traditional plot pattern, for example, the movie movements labeled as "new" were all premised on rebellion against the pattern. But it is not as easy as one might think to break out of the mold. For example, Godard, who was the main leader of the French "New Wave" cinema, almost spent his whole life doing things against melodrama, but in the end he had to lament that he could not escape from the circle of melodrama. His works "Exhausted" and "Crazy Biello" are still the fifth of the 36 plot modes "capture and escape", obviously inheriting the police road movie. Fassbinder, as the main general of the "New German Cinema", seems to be a bit smarter on this issue, and he is very quick to say that what he pursues is to make "German-style melodrama movies". His masterpiece, Maria Braun's Marriage, begins with the idea of making a "German melodrama movie". The Marriage of Maria Braun" begins with a plot pattern that has been used a thousand times before: "Mistakenly believing that her husband is dead, she remarries when he's not, or something like that." This is the 18th of 36 plot patterns.

The art of film is a more commercialized form than theater. Hollywood has been compared to a factory where movies are made and where people are mass-produced. For the sake of money in the pockets of the audience, the genius of the movie makers is largely expressed in the study of audience-pleasing patterns. Once a certain pattern wins high box office, that pattern becomes the model for mass production. In a sense, cinema is an art of "styles". In theater, for example, you only know of "classicism" and "romanticism", "realism", "naturalism" and so on, but not "western", "kung-fu", "thriller", "kung-fu", "kung-fu", "kung-fu", "kung-fu", "kung-fu", "kung-fu" and so on. There is no such thing as "Western", "Kung Fu", "Thriller", etc. However, in the art of cinema, works are categorized as "Horror", "Thriller", "Thriller", "Thriller", "Thriller", etc. Thriller", "Romance" is a matter of course. Artists may despise patterned films, but they cannot avoid the wonders of patterned production. Hollywood rules the world's movie market with patterned production, creating one after another dazzling box office myths! Hollywood's oldest narrative tradition comes from the "melodrama" model of theater, a type of drama known as Western melodrama. It is usually about the misfortunes of an underdog woman's love and married life, often caused by the barriers of gentrification. This plot pattern belongs to the 28th of the 36 types, "Marriage is not possible because of differences in rank or status". This pattern has created a movie that has earned tears from the audience, and the recent global box office miracle "Titanic" is the latest replica of this pattern.