“Parallel narrative” films depicting several main protagonists and intertwining plotlines are becoming increasingly prevalent in mainstream Hollywood cinema. These complex narratives “present[s] a particular craft challenge” (Bordwell 2006c, pg. 99) to contemporary screenwriters.
My honours project is a short film script of thirty minutes based on a particular mode of parallel narrative entitled “fractured tandem”. Fractured tandem possesses a number of specific traits such as non-linearity and a focus on the themes of coincidence, tragic accidents and consequences. The aim of the script is to adhere to some of these principles of fractured tandem whilst containing the story to thirty pages of script.
This exegesis contains a discussion of the possible origins of parallel narrative, its unique characteristics, and why it has gained such relevance in commerical cinematic storytelling over the past two decades. It also addresses the issue of how to approach parallel narrative, particularly fractured tandem, from a screenwriting point of view, providing a number of models and devices upon which parallel structures are based. Finally, the exegesis contains a series of detailed reflections documenting the process of writing my short fractured tandem film script.
The purpose of this project was for me to develop a number of stories and ideas that I could further develop upon and expand into bigger projects after the conclusion of my studies. The central driving theme that I wanted to explore in these stories was the idea of being Asian‐Australian. The result is a collection of 6 films which are in various stages of development and completion, all of which can be viewed on the included DVD.
Though I strove and was hoping to present 6 complete and polished films, it was not an imperative of this project to actually complete the films. Rather, this project was more concerned with my experience of discovering Asian‐Australian stories, and my filmmaking practice as an Asian‐ Australian. The project focuses centrally on the developmental, pre‐production and production phases of the project.
We need to reconfigure the relationships between woman and world, woman and god, woman and father, woman and man in order to move into a new age of more fluid and ethical relationships. Film is essentially a medium that enables a reconfiguration of time-space relations and furthermore a medium which- in particular forms- consistently strives to ‘penetrate’ or allude to a sense of human subjectivity. If film can pose questions of interiority and exteriority through its capacity to sculpture time and place, then it is through film that I would like to express my visions of a feminine subject in relation to faith, subjectivity and corporeality.
I intend to develop a film that expresses the relationships between woman and the divine in order to create a meaningful work drawing on a feminine imaginary. In this, I will specifically be drawing on the writings of St. Teresa of Avila under a modern feminist reading in order to create a relationship between the female imaginary and the divine, as a means to a reconfigure femininity is terms of an idea of a transcendental spirituality.
The texts of Spanish mystic St. Teresa of Avila are the subject of explorations in a number of differing practices, ranging from psychoanalysis to literary criticism. Her “texts” continue to hold relevance for their originality, formal qualities, poetic expression, and psychosexual dimensions, as well as for providing an evocative presentation of Teresa’s subjectivity.
The professional practice of Continuity Supervising is engaged in a co-existence between its traditional responsibilities and the new on-set technologies that the role is often encouraged to employ. At present, current texts do not address this co-existence; they examine only the more traditional practices. In a response to this problem, this research project aims to explore the interaction between old practice and new technology, as it presently exists within the role of Continuity Supervising. In parallel with this investigation, a key objective is to explore new types of audiovisual texts that reflect some of the theoretical concepts emerging out of the research inquiry.
supervisor: Seth Keen
This project consisted of an interactive QuickTime project which modelled a continuity tool. It also has an exegesis. The exegesis is available from the link below, as is an appendix.