By Ari Hiltunen
During this ebook, Ari Hiltunen explains the secret of the correct excitement which, in line with Aristotle, is the target of drama and will be caused through the use of definite storytelling techniques. by way of reading the main ideas 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 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 booklet should 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)
In Iphigeneia in Tauris the recognition happens between brother and sister and causes a change in action that is the opposite to that in Oedipus, that is, from bad to good. 1 The Significance of Logic A good plot represents action that is one, unified, whole and complete. This means that a plot has a beginning, a middle and an end. The action contains a change of fortune constructed in accordance with necessity or probability, that is, a good plot is both logical and credible. Aristotle explicitly states that two parts of a complex plot, recognition and reversal, should come about by ‘necessity or probability’.
If we interpret the beginning-middle-end structure to be functionally the same as the motive-intention-goal structure, we can understand how it is that the structure of drama and action brings about fear and catharsis. The existence of a motive sets a goal for action. Action has a beginning that is Oedipus’ motive (to save Thebes and make the city-dwellers happy), and ends with the achievement of the goal of Oedipus’ action (to reveal the identity of Laius’ murderer and effect his punishment). Between motive and achievement, pity and fear are produced which result in goal-orientated action (intention).
The audience then experience a fight-or-flight state but because they realise they are watching a fictional event, this raised state of consciousness does not result in physical action. However this can happen to children who run behind the sofa when they see something too exciting on the television. The sudden release from a fight-or-flight state produces intense pleasure, that is, the fear-induced physiological state of suspense changes. We could say that if witnessing moral injustice produces pity and fear, witnessing the re-establishment of moral justice produces pleasure.
Aristotle in Hollywood (Studies in Scriptwriting) by Ari Hiltunen