Adrian Robbe's Blog

Realist View of Cinema versus Anti-Realist Film Theory

Film Theorists -- Siegried Kracauer and Rudolph Arnheim

     In the book, "Film Theory and Criticism: Introductory Readings," (herein referred to as FTC) edited by Leo Braudy and Marshall Cohen, there is an essay by Siegried Kracauer entitled "Basic Concepts." In this writing, he discusses basic concepts of film theory. In addition, the book contains an essay by Rudolph Arnheim entitled "Film and Reality" that addresses the theory of what comprises a complete film.

Realist View of Cinema

     Siegried Kracauer is one of the most well known film theorists that advocates the realist view of cinema. He believes that film is essentially photographs of reality and is just like holding a "mirror up to nature" (p. 166, FTC). As a result, he advocates that film should always reveal physical reality just as it is. Adhering to this theory of film is associated with the view that cinema actually translates reality to the motion picture images. This reproduction of reality is done within the framework of an artist.

Anti-Realist Film Theory

      Rudolph Arnheim is an advocate of the anti-realist film theory. This view of cinema supports the claim that the mechanical reproduction of real life is not art at all. The anti-realist film theory focuses on an artist's creativity and the ability to "originate, to interpret, and to mold" (p. 167, FTC). This view of film theory adheres to the belief that film cannot be art at all because "it does nothing but reproduce reality mechanically." (p. 312, FTC).

A Balanced Perspective on the Realist Versus Anti-Realist Views of Cinema

     After studying the Realist View of Cinema and the Anti-Realist Film Theory, I personally believe that both views of filmmaking are true. It is my personal opinion that each theory cannot be emphasized at the expense of the other, and there needs to be a balance between these two theoretical concepts. Both theories are applicable to filmmaking, and both can be realized by a film director/screenwriter to tell a story through the communication media film. According to Dictionary.com, 'art' is defined as "the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance." Based upon this definition, I believe that a film director can express artistic talent through a Realist View of Cinema as well as through an Anti-Realist View by utilizing aesthetic tools and techniques of filmmaking.

- Exploring the Realist View of Cinema

     The Realist View of Cinema can be accomplished by a filmmaker through aesthetic elements of film and realistically translate real life artistically into the media of motion picture images. For example, the use of cameras, lights, lenses, sound, and editing techniques of physical reality can influence an audience's perception of a movie. For example, Orson Welles used varying degrees of shadows to accentuate drama, mystery, and suspense in his film, Citizen Kane. He used lights and shadows to mold the perception of the audience's view of the movie. This is the essence of the aesthetics of cinema... the appreciation of beauty. There is beauty in the world we live in, and this Realist View of Cinema conveys a reproduction of reality that can be accomplished through the cinematic artistry of the film director/screenwriter.

   The YouTube video depicted at https://youtu.be/47l_q4YjSc4  is an excerpt from the film "Citizen Kane." As you view this segment of the movie, you will observe the Realist View of Cinema at work and how a film director can create visual interest in a movie by translating physical reality into the media of moving images. The cinematic tools and techniques utilized by the film director conveys the overarching theme and message of the film.
The video "Citizen Kane - Susan Alexander at the El Rancho" at https://youtu.be/47l_q4YjSc4 was uploaded by carbondaleyarngirl to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." - Exploring the Anti-Realist View of Cinema

     While embracing a Realist View of Cinema, I believe that a film director can also utilize cinematic artistry through an Anti-Realist View of Filmmaking. For example, through superb directorial artistry, the famous film director Steven Spielberg brought forth a message in his films "Close Encounters of the Third Kind" and "E.T. -- The Extra-Terrestrial" that advocated doing away with America's efforts of dehumanizing the Russian people. These films focused on Spielberg's creativity and ability to convey a message in favor of international cooperation between America and Russia. Hence, the Anti-Realist Film Theory applies perfectly in this case.

    The YouTube video depicted below is an excerpt from the film "Close Encounters of the Third Kind." As you view this segment of the movie at https://youtu.be/JeeZA4B1qyI , you will observe the Anti-Realist Theoretical View of Cinema at work and how a film director can create visual interest in a movie by using artistic talent to "originate... interpret... and mold" (p. 167, FTC) the viewing audience's perception of a film.
The video "Close Encounters of the Third Kind (8/8) Movie CLIP - Contact (1977) HD" at https://youtu.be/JeeZA4B1qyI was uploaded by Movieclips to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." Integration of Realist and Anti-Realist Film Theories into Novel Writing

     I incorporated both the Realist View as well as the Anti-Realist View of communication media into the writing of my epic, medieval, fantasy novel The Wolves of Trisidian. The following discussions describe how I integrated both theories into the writing of my novel.

- Integration of the Realist View in The Wolves of Trisidian

     Beneath the surface of the entertainment related aspects of the story, there is a deeper layer of inner meaning to the novel that furthers our understanding of the human condition. The Wolves of Trisidian broadens our awareness of the natural, human nature that exists within each of us. As a result, the story introduces to the reader a new beast, a new darkness, and a new hero coupled with the overarching truth that man’s greatest enemy is his never-ending quest for power. Also, after being part of the central character’s journey in the novel, the reader should gain a deeper understanding of the human experience as well as the battle between pride and humility that exists within each of us. Based upon the reader’s own individual emotional responses to the choices and consequences experienced by the various characters in the story, the reader should be able to draw their own conclusions regarding what makes life full and complete. The decisions made by the characters in the story as well as the effects of those decisions can help us make sense of our own lives and the world we live in, as well.

    The following passage is a narrative excerpt from my novel, The Wolves of Trisidian, that is based upon the Realist Theoretical View as applied to novel writing.

    Randall prepared his crossbow. He was getting ready to launch another arrow at us. I immediately inserted a bolt into the flight groove of my crossbow, as well. I am preparing my weapon to kill the notorious Lord Draegan Randall of Trisidian, my birth father by blood. I took aim. Lord Randall seeks to put an end to our lives. He is forcing me to serve as his angel of death. I am about to fire a deadly bolt at the one from whose loins I came. Will my father’s blood now be on my hands? God, what am I to do?

     I readied my finger on the trigger. My crossbow was now in ready-to-fire position for the kill shot. To the best of my ability, I thought that I had already made the decision prior to stepping onto the battlefield about what needed to be done if confronted with this situation. My advance judgment was that my eye should not spare him. However, now that I was confronted with the reality of taking his life into my hands, I quickly discovered that it is not possible to plan in advance what to do concerning a decision like this. Conflicting thoughts on whether or not I should launch the bolt at the center of my father’s chest to put an end to his life once again plagued my mind. I took careful aim at his heart. In unison, Lord Randall lifted his crossbow weapon in ready-to-fire position and set his sight to launch a deadly bolt directly at me. Does my blood father know that his son by blood, Geoffrey, is the target of his aim? If he did, would it even make a difference? Would he launch the bolt at me anyway?

     After a brief moment of silent deliberation, all the confusion of that instant was securely put down. I gathered together in my mind one cohesive upsurge of devouring yearning to stop Lord Randall’s evil treatment of the citizens of Jandor. He had brought nothing but pain and death to many innocent people throughout the years, young and old alike. His blood shall be upon him. The soft flesh of my forefinger started to press against the trigger. Suddenly, a final thought of mercy flooded my soul. I should show grace and only shoot to wound Lord Randall and not kill him. I should endeavor to take him as my prisoner rather than send his soul to an eternity of burning torment. The flesh of my forefinger was still pressed against the trigger. But why should I be merciful to Lord Randall? He is an evil man and fully given over to wickedness. Why shall I be merciful? Why? Why? Why?

     I imposed an iron control over my conflicting thoughts of emotion. My decision was made. I pulled the trigger with full assurance. The bolt was launched into the air. As the bolt made its maiden flight to its intended target at the evil Lord Randall of Trisidian, it could not be called back or its flight directory changed. The trigger had been pulled. My decision could not be undone.

     This was an historic moment for me as well as the future of all Jandor, for the bolt carried with it the thoughts and intent of my heart. I decided to shoot the bolt at Lord Randall with the goal of only inflicting injury, not death. The bolt hit Lord Randall squarely in his right shoulder just as I had planned, far away from his heart. Prior to releasing the bolt, I decided to take Lord Randall as my prisoner of war and let the Court of the Alliance determine his fate. In my call as the Pledge of Peace since early childhood, I had girded myself with the resolve to thwart evil. I was fully determined to help build a new, peaceful life for the innocent ones of Jandor. Taking Lord Randall as a prisoner of war would fulfill that end. 

- Integration of the Anti-Realist View in The Wolves of Trisidian

     From an Anti-Realist View, I integrated several fantastic elements into the story that involve the evil Black Wolves of Trisidian. For example, their supernatural powers include: (1) Psychometry (ability to see the past in a location they were not present), (2) Telepathy (ability to read the thoughts of others as well as mentally communicate with other wolves), (3) Superanimal Mentality (extremely high intelligence), (4) Superanimal Strength (physically bigger and stronger than other normal wolves), (5) Superanimal Senses (ability to see, smell, taste, feel and/or hear better than other normal wolves), and (6) Superanimal Speed (ability to move, react, and run faster than other normal wolves). Moreover, other supernatural elements include: (1) The inhuman, wolfish, beastly nature possessed by the reigning Lords of Trisidian, (2) Wolf animal morphing, (3) Object-based powers inherent in special objects such as jewelry, stones, daggers, etc., (4) Magical powers possessed by evil sorcerers of Trisidian or good wizards of Jandor with the ability to use magical forces to varying degrees for evil or good, and (5) Healing powers with the capacity to heal quickly from an injury and with complete cure.

    The following passage is a narrative excerpt from my book, The Wolves of Trisidian, that is based upon the Anti-Realist Theoretical View as applied to novel writing.

    Suddenly, we heard the loud, rushing sound of a huge flock of black starlings outside the Secret Garden. They were soaring upwards into the sky as swift as the black smoke rises through the earth’s ruptured crust from the magma chamber of an erupting volcano. The total number of sky birds numbered in the hundreds of thousands. Without warning, the flock of sky birds formed into a Sort Sol, a phenomenon known as the Black Sun.

     Cortay said, “I sense the presence of evil.”

     I felt a dark, cold, baneful habitation residing outside the Secret Garden, as well. The black birds seemed like veiled ghosts hurrying past us as though being driven to their land of shadows by shuddering fear. Never before had I ever seen such a strange occurrence in nature. There were so many black starlings in the sky that their haunting commorancy began to obscure the path of the sun’s rays upon our land. The birds swam the flood of air like tiny ships. Forthwith, the birds started to converge into a series of multifaceted images across the unfeigned sky. I said, “An uprising of evil is swelling outside the gate. Like great black birds, the demons haunt the woods.”

     Cortay replied in a small, frightened voice. “The screeching sounds of the birds are whistling sharply in the air like a colossal gathering of vipers. Their effigies are darkening the orange-colored firmament.” Her face became clouded with uneasiness. “I feel like we are helpless little sparrows in the warm nest of the Secret Garden.”

     The black starlings seemed to dance like danseurs and danseuses in a suffering ballet across the swarthy sky. Viewing this iniquitous occurrence was hypnotizing. It was an unnerving sight. I searched for a plausible explanation. “It is as if an aura of evil launched itself upwards into the sky.”

     Cortay said, “The atmosphere is frightful as the serpent’s hiss.”

     All of a sudden, the Sort Sol formed into the Mark of the Celtic Cross. The dark, sculptured monument hung high in the shadowy sky. The Sort Sol was a crude representation of the mark’s symbolic significance of the Good and Wonderful One's eternal, endless love for all mankind. After we recognized the final assembly of the image in the sky, Cortay screamed out in great anguish and physical pain. She exclaimed, “My back left shoulder! It burns like the sting of a serpent!” Due to the intense pain, tears started forming in Cortay’s eyes.

    I quickly pulled down the back part of her tunic-sleeved blouse. I looked at the Mark of the Celtic Cross on the back of her left shoulder. The mark was inflamed. It was bright red in color. I felt the emblem on her skin with the fingers of my right hand. It was hot to touch. I paused to catch my breath. An odd, primitive warning sounded in my mind. This evil against Cortay is the work of Elvira the Sorceress. During my years of incarceration at Castle Trisidian, several people suffered from time to time with burning, stinging sensations on their bodies. These attacks at Castle Trisidian were due to evil spells cast by Elvira the Sorceress.

     Without warning, the black starlings broke formation and languidly drifted away north of our Village of Peritrova. The beaming rays of the sun gently filled the sky again as it continued its slow descent in the West. It was like lighting a candle to the sun. The soft, warm, diffused glow of the twilight hours returned and draped over our Land of Stonehaven with peaceful serenity.

     Cortay said, “The stinging pain is gone. It departed with the starlings.”

     I looked again at Cortay’s Mark of the Celtic Cross on her back left shoulder. It was no longer inflamed. It had returned to its normal warm-brown color.

REFERENCES

     BRAUDY, LEO and COHEN, MARSHALL. Film Theory and Criticism: Introductory Readings. 5th ed. Oxford: Oxford University Press, 1999.

     Dictionary.com website. "Definition of Art." Retrieved on 21 January 2017 from http://www.dictionary.com/browse/art
The Wolves of Trisidian -- A Novel by Adrian Robbe

Use of Tense Family Scenes in M. Night Shyamalan's Film "Signs"

Incorporation of Tense Family Scenes

     In order to demonstrate how tense family scenes can be incorporated into filmmaking, the following brief analysis of M. Night Shyamalan's use of this thematic element in his film "Signs" will be reviewed.

Story Background/Context:  As a matter of context, when the movie "Signs" begins, the audience is made aware that Graham's wife has passed away. He is raising his two children by himself with the assistance of his adult brother, Merrill.

Application of Frightening Scenes in the Filming of "Signs"

     Scene 1 - The movie shows a scene where the mother is killed in an automobile accident. It shows Graham present at the accident scene with his wife during her last few moments of life.

     Scene 2 - Another tense family scene is where Graham's son (Morgan) tells Merrill that he would rather have him as his father. Morgan tells his dad that he hates him and that he is the cause of his mother's death. The tenseness of this family scene is further built when Morgan has a severe asthma attack. Not having any access to an asthma inhaler or medicine, Graham hugs his son trying to help him get through the attack. As Graham is holding his son, he says to God, "Don't do this to me again."

     M. Night Shyamalan's use of tense family scenes in his film "Signs" is very effective. (Screen It Entertainment Reviews, 2004).
The above video "Signs Movie Clip Where Wife Dies (Mel Gibson)" was uploaded by Bob Short to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Application of Tense Family Scenes in Novel Writing

     I incorporated the filmmaking principle of "tense family scenes" several times throughout my epic medieval fantasy novel, The Wolves of Trisidian. In one particular scene, one of the major characters in the story (Lucian Randall) is in a tense situation with his father (Draegan Randall, the evil Supreme Lord of the Land of Trisidian). Lucian's mother (Tenya) is in a medical clinic with a severe injury to her skull. Unknown to anyone in the clinic, her husband (Draegan Randall) threw Tenya down a stone staircase in a fit of rage, causing significant blunt force trauma to her head. Tenya is on her deathbed now and is in a sleepy, near unconscious state. Lord Randall does not want Tenya to wake up and tell the attending physician or other witnesses (including his son, Lucian) that he is the one who cast Tenya down the stone stairwell. As a result, Draegan Randall (in his powerful role as Supreme Lord of the Land of Trisidian) commands the physician to give Tenya a strong sedative to put her to sleep until such time that she dies. In opposition to his devious plot, Lucian speaks up against his evil father. He requests that Tenya be allowed to wake up from her drowsy state so he can spend the last few hours she has on earth talking with her. In response to Lucian's appeal, Lord Draegan Randall erupts in a fit of rage against his son.

     After reading the excerpt below from the story of The Wolves of Trisidian, I trust you will see how tense family scenes can be an effective tool in the writing of a fiction novel and how it can be effectively used for stirring the emotions of readers.

     Physician Severin told Lord Draegan Ranall, "I am sorry to share such sad news with you, but it is likely your wife will soon enter into a coma. After a period of delayed loss of consciousness, she will eventually die."

     With a distant voice, Randall asked, "How much longer does she have to live?"

     Severin replied, "Not long, Sire. It is very likely she will die tonight."

     Randall clamped his jaw tight. His eyes narrowed. He fastened his right hand on Physician Severin’s left arm and said, "Tenya's mind is confused from the fall. Due to the great pain she is experiencing, her words are in a befuddled state. Her previous declaration towards me is nonsensical."

     Lucian turned to Randall and said, "Forgive me for contradicting Your Excellency, but I hold a different view. Mother is fully aware of what she is saying."

     Draegan Randall’s eyes blazed with hatred towards his son, Lucian. With a stern-faced expression, he replied, "Lucian, I know seeing your mother in pain like this is a difficult situation for you. However, your mindless emotions are camouflaging your deep despair and fear of loneliness because you know there is no hope for your mother's recovery. Wipe away your senseless tears. Be a man for once, Lucian! Accept things as they are, and get control over your silly emotions!"

     After Randall spoke to his son that way, Lucian clenched his teeth to temper the mounting rage inside of him towards his father.

     Randall turned to Severin and said, "Give Tenya something to make her fall into a deep sleep. She needs rest."

    A flicker of apprehension coursed across Severin’s face as he replied to Randall, "Sire, I have already administered a strong mixture of herbs to ease her pain. Sedating her mind will most likely cause her to fall into an unrecoverable, unconscious state. If you and your son desire to communicate with Tenya during her last remaining hours, I do not recommend sedation."

     Observing the doctor’s hesitation, Randall’s voice of reply was cold and exact. He said to Severin, "Lucian and I have no need to talk to her anymore! Put her to sleep!"

     When Lucian heard those words come from his father's impious mouth, he believed his father was just being manipulative. Lucian felt his father was trying to ensure Tenya was not able to communicate with him or anyone else so that she would not reveal the truth about how she actually took a fall down the steps. Lucian suspected Randall was trying to hide something from everyone in the room. There was no doubt in Lucian's mind that sedating Tenya was his way of trying to conceal the truth about what truly happened to her that night. Lucian replied to Randall, "With all due respect to Your Excellency, you cannot speak for me. I have great need to continue speaking with my mother during her last hours here on earth. In the wake of my mother’s death, please grant this appeal to me, and give Mother and I time to say goodbye to one another."

     Randall quickly whipped his right hand across Lucian's face knocking him onto the ground. Randall exclaimed, "Do not question my decision, Lucian! One more word from you, and I shall have you cast into the Trisidian dungeon!"

     Lucian jumped to his feet and was ready to charge at his father. However, Centurion Kildare pulled his sword from its sheath and placed the tip of the blade next to the jugular notch of Lucian's neck. Lucian remained still, fearing the slightest movement would result in his quick death.

     Randall gave Lucian a grudging nod. Then, Randall pulled his dagger from its sheath and put the tip of the blade up to Severin’s jugular vein. As a satanic smile spread across Randall's face, he asked Severin cynically, "What is your decision, Professor?"

     There was a perceptible note of pleading in Severin’s face as he said, "I shall do as you command. I shall sedate her."

     Randall yelled, "Then do it! Now!"

     While in Randall’s presence, Severin immediately forced Tenya to drink a strong blend of valerian root, lavender, and passionflower to make her body and mind relax.

     Kildare lowered his blade from Lucian's neck.

     Lucian sighed loudly.

     The sleep-inducing effect of the sedative was so strong that Tenya fell into a deep state of slumber less than a minute later. After confirming her tranquil condition, Randall, Kildare, and Severin all departed the room. Lucian was left unaccompanied in the lonely chamber sitting by his mother’s bedside. He tried to wake his mother up to talk with her, but to no avail. The sedative was too strong.

REFERENCE
Screen-It Entertainment Reviews. (2004). Screen-It, Inc. Retrieved on April 2, 2004, from http://www.screenit.com/index.html
The Wolves of Trisidian -- A Novel by Adrian Robbe

Visual Interest through Innovative Cinematography in the Film "Citizen Kane"

Visual Depiction of The American Dream in "Citizen Kane"

     The film "Citizen Kane" is known as one of the greatest motion pictures ever made because of its visual interest. The director (Orson Welles) used innovative cinematic photography to maintain suspense, drama, and a sense of mystery throughout the film. "Citizen Kane" shows the emptiness of what many people view as the American Dream – the love of money and power.  The message of the film demonstrates that the satisfaction money and power brings is only temporary and never satisfies. The sadness and voids left in Citizen Kane’s life in the midst of riches and wealth is conveyed very well throughout this film.

     One of my favorite sequences is at the end of the movie when the camera moves over a large area of crates containing material goods that Kane acquired over the years of his life.  He purchased these things to fill a void in his life that was created by his lack of ability to love others. After panning over this great display of goods, the camera closes in on an old sled that he used as a small boy. This sled was shown earlier in the film when Kane was a child. It showed him playing with the sled in the snow; and although he was poor, he was happy. This sled had the name of "Rosebud". At the end of the film, the sled ends up being thrown into a furnace and burned up by the fire. It was a stunning moment in the movie that showed how a desire for riches and power can destroy what could have been a very fruitful life.

     The primary message of the film "Citizen Kane" is that riches and power have major limitations. They are temporary in nature and easily lost. As a result, they cannot provide happiness and will eventually harm your character and life. Similar to the premise of the motion picture "Citizen Kane', I incorporated visual interest in my book "The Wolves of Trisidian". I did this by depicting the disastrous end of the Lord Draegan Randall of Trisidian. As you read the following excerpt from my book, you will experience the thoughts of the protagonist (Squire Geoffrey Talbot of Stonehaven) as he views the dead body of his evil blood father who labored only to be powerful in life and trusted in his riches, but in the end experienced a great falling.

     The YouTube video noted below is the end of film "Citizen Kane." As you view this final segment of the movie at https://youtu.be/eP0O1BKu3zk, you will observe how motion pictures create visual interest while at the same time can convey the overarching theme and message of the film.
The video "Citizen Kane Ending" at  https://youtu.be/eP0O1BKu3zk  was uploaded by asimranibrahimi to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use." Sample Application of Visual Interest in Novel Writing

     "The Wolves of Trisidian" is an inspiring medieval tale because it introduces to the reader a new beast, a new darkness, and a new hero coupled with the overarching truth that man’s greatest traitor is his never-ending quest for power. In the midst of unveiling the obscure nature and dark shadows of the human heart, a new hero arises when the central character (Squire Geoffrey Talbot) embraces the deep-rooted moral principle that the “power of love” is greater than the “love of power.” The story is thematically significant because it demonstrates that prideful ambition and an arrogant heart lead to misery and destruction, but a humble spirit is the pathway to joy and happiness. The following story excerpt conveys this moral principle by creating intense visual interest within the reader.

Visual Interest Excerpt from the Story of The Wolves of Trisidian

     I looked up again and stared at Lord Randall’s cadaverous head upon the bloody pole. My body began to shiver. His face haunted me just as it did years ago while I was imprisoned as a slave child at Castle Trisidian. Lord Randall’s frigid eyes appeared to still be staring and sniping at me with haughty rebuke. As I looked upon his face, I could still hear the hurtful, mean words in my mind that  always emanated from his violent tongue. His vindictive indictments were like the hissing sounds of scarlet snakes that die after being born, but with an echo still haunt the hills for years to come. His cold, lashing facial expression as many times in the past continued to wrap my heart in fear. Lord Randall’s eyes looked as if they were crying out at the peak of grief and woe from his new infernal den.

     Tears welled up within my eyes as I contemplated Lord Randall being a child of the Kingdom of Trisidian. After my blood father’s demise at the Battle of Granador, there was no doubt he woke up in utter darkness. I gazed upon his empty corpse. My blood turned cold as I thought about the reality of his shrieking cries and begging for mercy, but his fate was now sealed. Like the cold breath of the grave, the Death Angel visiting the Battle of Granador seized Lord Randall with one colossal grasp and cast him into outer darkness shouting, “Away with you!” I yielded to compulsive sobs as I thought about my blood father being cast into outer darkness. Lord Draegan Randall of Trisidian was now thrust into the bottomless pit where he will be forever descending, descending, and descending... never to find a place on which to rest his feet. The misery of a bitter, cold night haunted me as I thought about him living forever in the place of no hope, where there is not even the hope of dying.

     Every ounce of strength was drained from within me. I fell upon my knees to the ground. I was crippled by the lonely silence at the foot of the spear that held Lord Randall’s empty, shell-like crown towards the eerie, evanescent sky. It was at this precise moment in time that I fully comprehended how the love of power leads to death and that a humble spirit rooted in the power of love is the pathway  to life.
The Wolves of Trisidian -- A Novel by Adrian Robbe

The Importance of Music in Filmmaking

Music is a Powerful Tool in Filmmaking

    In her article "Narrative Film Music," published in Yale French Studies Journal, No. 60, Cinema/Sound (1980), 183-203), Claudia Gorbman writes that "film music shapes our perception of a narrative" (Gorbman, 1980, p. 183).  She believes that music "seeks to breathe into the pictures some of the life that photography has taken away from them" (Gorbman, 1980, p. 187).  She also believes that there is a synergistic quality of music in films. For example, if a director was to change the soundtrack in a film, Gorbman's theory infers that the "image track will be transformed" (Gorbman, 1980, p. 202). Hence, Claudia Gorbman's theory of film is founded upon the concept that there are unifying and enhancing effects of music in a film.

     The YouTube video noted below is the Official Trailer to the movie "Wolf Totem." As you view the trailer at https://youtu.be/kGv7VDno3J8 , you will experience how powerful music can truly be in shaping a viewer's interpretation of a filmmaking narrative. Suffice it to say that music has power in filmmaking.
The video "Wolf Totem - Official Trailer - In Theaters September" at https://youtu.be/kGv7VDno3J8 was uploaded by Sony Pictures Entertainment to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use." Sample Application of Music to Novel Writing
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     Building upon Claudia Gorbman's theory of film and the important role that music has in cinematic narrative, I applied this same concept to my epic medieval fantasy novel, The Wolves of Trisidian. In the following excerpt from my book, you will observe the protagonist in the story (Geoffrey Talbot) playing his viol in a musical performance at the request of Lord Brishen Alexander of Stonehaven who was hosting a special visit by Lord Philip Batclif of Actalon. Attended by more than 150 people, the scene in this part of the story takes place at the Great Hall at Castle Stonehaven. To put the scene into proper context, Geoffrey was asked by Lord Alexander to play a sonata on his viol along with Emelie, another member of the Stonehaven Consort who was playing the dulcimer. Geoffrey and Emelie were scheduled to perform the sonata prior to when Lord Alexander was going to be hosting the evening meal for Lord Batclif. Geoffrey chooses to play a song that he wrote about his little sister who had passed away at the tender age of 4 years. Due to certain events that happened surrounding this incident, Geoffrey continues to blame himself for his sister's death. He has continued to carry this guilt throughout his life. Named after his little sister, Geoffrey titled the song, “Diana.” Her name means, “Helper of the woods animals.” As you read the story excerpt, I trust you will see how incorporating a scene with a description of music or song into your novel can have great impact upon the reader.

Musical Excerpt from the Story of The Wolves of Trisidian

     The time finally came for me to join my accompanist in the music. As I started to play the song about my little sister, Diana, I did so with my eyes closed. I became oblivious to the entire world around me. My mind entered a world known only to me. My head first inclined slowly at the beginning of the song, admitting the failure on my part. The tender melody continued to fill the Great Hall. My thoughts gravitated to the past and the brief period of time I was able to spend with my little sister, Diana. She was precious to me. I miss her so much. 

     As we continued to play the song, my mind reflected on what happened to Diana on that horrible day. When the sound of the instruments got stronger, my head would nod up and down with taut jerking movements. My chin would tilt back and forth as my body tried to embrace all of the dignity it could muster in the sweet memory of my little sister, Diana. 

     Memories of that dreadful time were vivid and clear. Unbidden thoughts haunted me as awful remembrances returned to my mind. The blood in my veins flowed quickly through my body as feelings of guilt and blame about my sister became trapped in my memory. Playing this song was always an emotional experience for me, but it always helped me to heal a little more each time I played it.

     In sweeping motion, my right hand guided the bow across the strings as we entered the verse of the song that expressed Diana’s story. At the same time, my left hand moved on its own volition up and down to the lowest part of the strings demonstrating how Diana’s life ended in such a bitter battle. The song had no words penned to the verse. It was an instrumental only. As I continued to play the song in the Great Hall, Diana’s sweet character was known only to me among the crowd. That was best, for only the beauty of the music could convey the tender life and sweet spirit of my little sister. Penning words to paper would only serve as a meager description of her lovability. Truly, this song was an expression of sincere, heartfelt love for my little sister. I believe this was the root source of my love for music and especially my love for this particular song.

     With tremendous energy and power that only music could possibly convey, Diana’s song continued to flow out to the audience in the Great Hall. My eyebrows drew together in agony as a hot tear rolled down my cheek. As we entered the chorus, the main theme of the song in my heart overflowed for my sweet sister, Diana. Then, as we entered the bridge of the song, my heart emphasized the reason for repeating the final chorus for her. 

     I yielded to compulsive sobs for Diana as I continued to play my viol. Tears filled both of my closed eyes as I heard the sweet melody of the dulcimer blending together with my viol in honor of my little sister’s life. Then, as Emelie and I entered the coda and closing part of the song, I felt a sense of loss that was beyond tears. The misery of that terrible day still haunts me. The only things left inside me are the raw, putrefying sores of my aching heart. 

     The song ended with a final, slowly fading, musical depiction of the soft and tender innocence of childhood. After the song ended, my eyes continued to remain closed for a few brief, still moments as I reflected on the memory of my little sister, Diana. ​

REFERENCE

Gorbman, Claudia. Yale French Studies Journal, No. 60, Cinema/Sound (1980), 183-203.
The Wolves of Trisidian -- A Novel by Adrian Robbe

Screenplay Analysis of The Godfather: Hollywood Three-Act Structure

​Abstract

     Telling stories through film can be accomplished in different  ways. The most commonly used storytelling approach in film is referred  to as the Hollywood three-act structure. Other approaches that do not comply with the traditional Hollywood screenplay design are known as the alternative style of screenwriting. This article  provides a screenplay analysis of the American film “The Godfather”. The purpose of this article is to provide a  screenplay analysis of “The Godfather” in terms of its story structure. I will accomplish this by first  providing a brief description of the Hollywood three-act structure. Then, I will define the key terms that comprise a story’s design. After this, I will provide an analysis of the film using story design  terminology relative to the overall structure of each screenplay.
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Hollywood Three-Act Structure
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     The Hollywood three-act structure is the most common screenwriting approach used today. It is most widely used in films produced in America. The three-act structure is very easy for the viewing audience to comprehend and understand. “The first act gets the audience involved with the characters and the story. The second act keeps it involved and heightens its emotional commitment to the story. The third act wraps up the story and brings the audience’s involvement to a satisfactory end” (Howard 24-25). Basically, Act 1 is the beginning of the story, Act 2 is the middle, and Act 3 is the end of the story. For a typical 120-page screenplay, Act 1 is 30 pages long (or 30 minutes),  Act 2 is 60 pages (60 minutes), and Act 3 is 30 pages (30 minutes). Usually, the Inciting Incident which is followed by Plot Point 1 occurs in Act 1. Plot Point 2 occurs after the midpoint of Act 2. Then, the Story Climax which is “the biggest scene in the movie, where good  confronts evil and where the final battle is waged” (Keane 85)  occurs toward the end of Act 3.
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     Act 1 is characterized by Setup, Act 2 by the Confrontation, and Act 3 by the Resolution. During the Setup phase in Act 1, the story begins with establishment of the  characters, clarification of the “movie’s premise, location, and genre.  In other words, you start with a main character whose entire world is  about to be shattered, who is going to be more severely tested than ever before, and whose way of looking at life is going to be changed  forever” (Keane 72). During Act 2 (the Confrontation Phase), “the character faces a series of obstacles” (Keane 79). As the story progresses in this segment of the story, the number of  obstacles as well as their intensity increases as the story progresses forward (Keane 79). Act 3 (the Resolution Phase) is “where we find out if the main character achieves his or her goal… and… where  the plot is resolved.  Once resolution has taken place, the three-act screenplay is over” (Dancyger 56).
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Story Design Terminology
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     In order to properly analyze a screenplay, an understanding of the key terms of story design along with their  definitions is necessary. For ease of reference, the key terms are defined below:

     - Genre:  A category or style of screenplay depicting its content and affecting the author’s approach to writing the story.
     - Setting:  “A story’s setting is four-dimensional — Period, Duration, Location, Level of Conflict” (McKee 68).
     - Plot:  “To plot means to  navigate through the dangerous terrain of [the] story and when  confronted by a dozen branching possibilities to choose the correct  path. Plot is the writer’s choice of events and their design in time” (McKee 43).
      - Structure:  “Structure is a  selection of events from the character’s life stories that is composed into a strategic sequence to arouse specific emotions and to express a  specific view of life” (McKee 33).
     - Character:  “A part or role, as in a play, motion picture, or the like (Random House College Dictionary 225).
     - Scene:  “A scene is an action through conflict in more or less continuous time and space that turns  the value-charged condition of a character’s life on at least one value  with a degree of perceptible significance” (McKee 35)
     - Sequence:  “A sequence is a  series of scenes — generally two to five — that culminates with greater  impact than any previous scene” (McKee 38).
     - Act:  “An act is a series of  sequences that peaks in a climactic scene which causes a major reversal  of values, more powerful in its impact than any previous sequence or  scene” (McKee 41).
     - Protagonist:  “The leading character or hero of a drama or other literary work” (Random House College Dictionary 1063).
     - Antagonist:  The adversary of the hero.
     - Inciting Incident:  “The inciting incident radically upsets the balance of forces in the protagonist’s life” (McKee 189).
      - Story Climax:  “A story is a  series of acts that build to a last act climax or story climax which  brings about absolute and irreversible change” (McKee 42).
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“The Godfather”

     “The Godfather” (1972) is Part I of a trilogy of films directed by Francis Ford Coppola. Based on a novel by Mario Puzo, the screenplay was written by Mario Puzo and Francis Ford Coppola. From a story perspective, the motion picture won an Oscar for Best Screenplay Based on Material from Another Medium (Dirks). The film is of the gangster genre; however, it was different than the typical gangster films of the 1930s. “The Godfather” was a film that ”re-invented the gangster genre, elevating  the classic Hollywood gangster film to a higher level by portraying the  gangster figure as a tragic hero” (Dirks).
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Synopsis 

     The film is about Don Vito Corleone (the patriarchal head of a Mafia family in New York) who is invited by Virgil “The Turk” Sollozzo (another New York family leader in the Mafia) to  start selling drugs throughout the state. However, Don Vito refuses to get involved with the drug business. He is satisfied continuing with their gambling and protection efforts. As a result of his refusal, Sollozzo orders an attempt to be made on Don Vito’s life. As a result, Vito is gunned down in the middle of a street. Thinking Vito was dead, Sollozzo then tries to get Vito’s son (Santino “Sonny”  Corleone — the new family leader) to agree to sell narcotics as part of  the family business. However, Sollozzo’s plan is thwarted when he finds out that the ‘Don’ (i.e., Don Vito Corleone) did not die. Don Vito’s other son (Michael ‘Mike’ Corleone) kills Sollozzo which leads to a war among the gangster/mob families of New York. The war leads to Sonny’s death as well as the assassination of Michael’s wife (Appollonia) in Sicily. Michael later remarries his previous sweetheart (Kay Adams), the aged Don Vito  Corleone dies, and Michael becomes the new “Don Corleone” (Howard  189-191).
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Main Characters

 - Don Vito Corleone
 - Don Michael ‘Mike’ Corleone
 - Santino ‘Sonny’ Corleone
 - Virgil ‘The Turk’ Sollozzo
 - Kay Adams-Corleone
 - Carlo Rizzi
 - Constanzia ‘Connie’ Corleone-Rizzi
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Act 1 – The Setting

    In Act 1, the story’s setting is established; and we are introduced to “the main conflict around which  the story will be built” (Howard 25). The “world of Don Corleone [is set up during Act 1]:  his responsibilities; his family members and their conflicts; the difficulties he faces with the law and competing families; the statesmanship he must possess in order to keep his family and friends  supportive of his leadership” (Ryan 97).  “The story is told from the point of view of Michael Corleone… who is the emotional center of the movie” (Ryan 96). The time period is in the mid-1940s.  The location of the story takes place in and around the city of Long Beach, New York, as well as in Hollywood, California.  The level of conflict throughout the story occurs in the human dimension  and depicts the struggles between the Corleone and Sollozzo families. In the first act, all of the main characters are introduced in the story. In fact, they are all introduced during the opening sequence of the movie at Don Vito’s daughter’s wedding reception. During the wedding, Michael Corleone tells his girlfriend (Kay Adams) about  the murder and violence associated with his family’s business. Then he tells her, “That’s my family, Kay; that’s not me” (Ryan 97).  This sets up an inquisitiveness among the viewing audience on whether or not Michael Corleone will be like his family or be different. Later into the act, the inciting incident occurs where the attempt is made to kill Michael’s father (Don Vito Corleone).  During the first act, there are two protagonists in the story — Don Vito Corleone and Michael Corleone.  They have “similar and related objectives, but they aren’t quite identical” (Howard 191). “Vito wants to maintain his power and wield it according to the traditions  and expectations of his highly ritualized organized-crime upbringing.  Michael is faced not so much with an established and stagnant power base as  with one that is eroding; his objective is to recapture and consolidate  that power base” (Howard 191-192). The antagonists to Don Vito and Michael are Virgil ‘The Turk’ Sollozzo and the other mob family leaders.
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Act 2 – The Confrontation

     Upon notification of his father being gunned down, Michael Corleone immediately comes to help and be with his family. With Vito being shot, the question looming over the minds of the audience is, “Who will now lead the family…?” (Ryan 97). The second act amplifies the intensity of the pressure being placed on Michael and the circumstances he is confronted with. During this act, Michael decides that Sollozzo must be killed, and he actually carries out the assassination by himself. After killing Sollozzo, “Michael must go into exile; he must lie low until  the shock waves of his bold action have subsided” (Ryan 98). However, as time goes on, two other inciting incidents occur — Sonny (who was  temporarily leading the Corleone family while Vito was recovering from his injuries) is ambushed and Michael’s new wife in Sicily is killed. This leads to the close of the second act by leaving a vacuum in the leadership of the Corleone family. With the loss of “the opportunity to start his own family” (Ryan 98),  Michael now returns home and assumes leadership of the Corleone family.
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Act 3 – The Resolution

     During Act 3, Don Vito calls all of the  families together in an attempt to resolve all of the differences and  put an end to the war among the 5 mob families in New York. “In the spirit of resolution, Michael reconciles with Kay and achieves his goal of starting his own family” (Ryan 98). Subsequent to this, Don Vito officially retires from his family business  leadership role; and Michael becomes the new head of the Corleone family. These actions all bring a sense of closure and resolution to the story. However, the story climaxes when Michael arranges for the murder of his  brother-in-law, Carlo, who has betrayed the family and set up Sonny to  be gunned down” (Ryan 99). It is at this time that Michael reveals his true character. He has now shown that he “will now murder not only outside his family but also inside it” (Ryan 99). He further demonstrates his lack of moral integrity when he “lies to his wife, Kay, about murdering Carlo” (Ryan 99). In this scene, his action is totally opposite to what he told Kay during  the wedding reception in Act 1 when he said, “That’s my family, Kay;  that’s not me” (Ryan 99).
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Closing Comments to “The Godfather” Screenplay Analysis

     “The Godfather” is built on the traditional Hollywood three-act structure. It does a good job in setting up the story, developing the characters and  their confrontations, and brings resolution to the story’s conclusion  that all of the key conflicts are somewhat over… in spite of the  prevailing winds of another storm about to enter over the horizon as  revealed in the subsequent film, “The Godfather – Part II.”​
The video "The Godfather Trailer (HD)" at https://youtu.be/sY1S34973zA was uploaded by Fan-Made Film Trailers to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use."
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WARNING (SPOILERS) -- Please be advised that the following excerpt from The Wolves of Trisidian novel contains SPOILERS. It reveals elements from a climactic event in the story that threaten to give away important details of the plot and the dramatic turn of events contained in the book.
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Sample Application of Three Act Structure to Novel Writing
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     I applied the Hollywood Three Act Structure to my epic medieval fantasy novel, The Wolves of Trisidian. In the following synopsis, you will find a description of the Three Act Structure that I used in the novel, to include:  Act 1 (Setting), Act 2 (Confrontation), and Act 3 (Resolution).
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 ACT 1 - SETTING
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     A local area farmer by the name of COSSUA LONGMIRE finds Geoffrey lying down on the river’s bank at the point of exhaustion. After hearing that Geoffrey was an orphan, Cossua offers to take Geoffrey under his care. When Geoffrey hears that Cossua is a former First Knight of Actalon, he asks Cossua to train and mentor him. Over the next two years, Geoffrey learns the skills and chivalric attributes of knighthood. As a result, Geoffrey receives new hope and ideas that provide a positive drive forward in his life
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     SIR VEZIAN CALDURO, the First Knight of Stonehaven, visits Cossua's farm to water his horses. To Sir Vezian’s surprise, he discovers that Cossua served with and helped his father, SIR AKNER OF ACTALON, in a time of great need at the Battle of Krandora many years ago. Due to Cossua’s efforts, Sir Akner offered to return the good favor he provided on behalf of his father. Cossua requests that Geoffrey served as Sir Vezian’s Page with the goal of later becoming a Squire and ultimately a Knight of Stonehaven. Sir Vezian agrees to Cossua’s request. Geoffrey accompanies Sir Vezian to Castle Stonehaven and enters the noble pathway to knighthood.
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     Over the next several years, Geoffrey fulfills the responsibilities of a Page. He is later promoted to the status of a Squire at Stonehaven. During his training as a Squire, he learns advanced skills of swordsmanship, horsemanship, and jousting. He also receives academic training in the arts and sciences. In this capacity, he becomes well acquainted with knightly manners of the court as well as how to play a musical instrument, the viol.
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     PRINCESS DRUTEERA, the daughter of LORD BRISHEN ALEXANDER and LADY SERENA OF STONEHAVEN, is attracted to Geoffrey. However, Geoffrey views their relationship more as like a brother-sister rapport instead of a romantic one. This frustrates Druteera. However, during a musical celebration at Castle Stonehaven, Geoffrey meets a beautiful young maiden standing in the Great Hall. Her name is CORTAY DEVEREAUX, a recently hired maidservant working for Princess Druteera. Druteera sees an invisible web of attraction building between Geoffrey and Cortay. Druteera becomes jealous and reassigns Cortay to work as a laborer in the fields that her beautiful face and skin would wrinkle from the drying effects of the hot summer sun. In spite of Druteera’s efforts to put a division between Geoffrey and Cortay, their relationship continues to flourish.
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ACT 2 - CONFRONTATION
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     When Geoffrey’s trusted friend, Lucian of Trisidian, makes a surprise visit from Castle Trisidian to Castle Stonehaven, things start changing again for Geoffrey as another triggering event occurs that deepens the problem of Trisidian tyranny against the Alliance of Jandor. Lord Alexander learns from Lucian that Lord Randall’s Army of Trisidian will be launching a surprise attack upon the unwalled City of Granador in 3-days. Since Granador was part of the Alliance of Jandor, the Armies of Stonehaven and Actalon immediately depart to help their fellow alliance member.
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     After an initial wave of success at the Battle of Granador by the allied Army of Jandor against the Dark Riders and Black Wolves of Trisidian, another conflict is introduced to Geoffrey when the Alliance members are confronted with a battle dilemma that causes things to start changing with a reversal against them. Then, more conflict occurs for Geoffrey at another turning point in the battle when an arrow from a Dark Rider pierces Sir Vezian’s chest. When Sir Vezian dies in his arms, Geoffrey is now at the lowest point and absolute worst scenario of his life. Geoffrey builds toward resolution of the Battle of Granador as he steps forward to help defend Lord Alexander from two Dark Riders moving forward to kill him. After the two Riders are defeated, Geoffrey sees a Dark Rider in the distance firing a bolt at Lord Alexander. Geoffrey successfully pushes Lord Alexander out of the way of the streaming bolt’s path. However, in doing so, the bolt enters the side of Geoffrey’s chest instead. After Lord Alexander removes the arrow from Geoffrey’s chest, he discovers that it is the Arrow of Grief, sable in color with the triangular head of Trisidian. The bolt was launched by none other than Lord Randall himself. Geoffrey immediately stands to his feet and sees his blood father, Lord Randall, preparing to launch another bolt with Geoffrey being the target this time.
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     Geoffrey pulls his crossbow up and prepares to fire an arrow at his blood father, Lord Randall. He is conflicted as to whether or not to shoot with intent to kill or just wound him. However, Geoffrey receives new hope as he decides to show grace and only shoot to injure Lord Randall. Doing so, Geoffrey plans on taking Lord Randall as his prisoner of war with the hope of letting the Court of the Jandor Alliance determine his fate. However, after successfully striking Randall’s right shoulder with a bolt knocking him down to the ground, another complication arises for Geoffrey as he runs to take his father prisoner. Geoffrey sees an unidentified soldier plunge a dagger into the hollow of the Lord Randall’s throat putting an end to his life. Then, for some unknown reason, the soldier cuts the palm of his left hand with the bloody dagger he used to kill Lord Randall. Then, he pushes his cut palm into the pool of blood on Lord Randal’s throat. As Geoffrey makes his way to the scene, the mysterious soldier departs the area and escapes into the shrouded forest.
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     As Geoffrey stares at Lord Randall’s dead body, he experiences an ephipany moment of revelational insight as he hears the sounds of fighting men and screaming wolves engaged in battle. The sound of soldiers crying out from their injuries makes Geoffrey sick to his stomach. He wants to put an end to the senseless loss of human lives. He grits his teeth and finds myself inexplicably dissatisfied with the wages of war. A sudden thin chill hangs on the tip of Geoffrey’s tongue. His heart flames with such scalding fury that it almost chokens him. He knows that the only way to stop the killing that is filling the forest of Granador is to strike terror and dread upon the Dark Riders. Geoffrey decides to do something that will make their spirits motionless as a stone.
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ACT 3 - RESOLUTION
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     A climactic end and resolution finally comes at the Battle of Granador. Filled with potent rage, Geoffrey decides to pull Lord Ranall’s sword from its sheath. He lifts it high into the sky and brings it down with full force upon his dead father’s neck. The sharp blade separates Randall’s head from his body. Geoffrey lifts up Lord Randall’s head by its long hair and carries it about 50 ells outside of the forest ridgeline on the open Plain of Granador for all to see. With the fires still burning on the plain behind him, Geoffrey is in full view of everyone fighting within the forest ridgeline. As the Dark Riders and Black Wolves of Trisidian see their beheaded leader, their spirits plunge downward. They begin to tremble, and fear falls upon them. They become dismayed. Rather than seek a compromise or negotiate, the Army of Trisidian retreats from the battle. The Army of Jandor stands victorious against the Trisidian invaders.
    
     After the Army of Trisidian departed Granador, Geoffrey’s eyes could scarcely take in the revulsion that existed before him. The blood of men, wolves, and horses paints the ground. Carcasses of beings who once lived in Trisidian, Actalon, Granador, and Stonehaven are strewn over the earth. The horror of the Battle of Granador envelops Geoffrey as he peers upon upon the massive amount of human and animal carnage surrounding him. Geoffrey approaches the desolate spear holding Lord Randall’s head in the sky. As he stares at Lord Randall’s head upon the bloody pole, the face haunts Geoffrey. Randall’s face appears cold and lashing as Geoffrey falls upon his knees to the ground. Geoffrey is crippled by the lonely silence at the foot of the spear that held Lord Randall’s head up to the eerie red sky.
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     Geoffrey looks down at the leather wristlet he is wearing on his left wrist. He reflects upon the inscription, “Geoffrey – Peaceful Pledge.” He comprehends how the love of power leads to death and how a humble spirit rooted in the power of love is the pathway to life. Geoffrey's way of thinking is thoroughly renewed. He has risen from the depths of being just a poor slave boy in Trisidian to new heights in his manhood as a Knight of Stonehaven. He is equipped with new thoughts and understandings about the issues of life. Geoffrey’s previous self is dead. He has risen from the crisis at the Battle of Granador. He knows his life was transformed there by the life-giving power of the God of Jandor. Geoffrey's old life is now passed, and all things are now become new for him.
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     Suddenly, Geoffrey hears a multitidue of footsteps approaching him from behind. The soldiers of the Jandor Alliance assemble around him. Geoffrey looks into the weary faces of men, young and old alike. Suddenly, one young soldier standing directly in front of Geoffrey says, “Sire, help us have hope.” Geoffrey knew that although the Army of Jandor was victorious, the Battle of Granador came with a great cost to the soldiers. As Geoffrey looks into the disillusioned eyes of the young soldier and those standing around him, he realizes the horror and trauma of war they experienced on the battlefield that day would change their lives and those of their families forever. Somehow, Geoffrey knows he needs to somehow help them overcome their sense of helplessness.
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     Armed with principles of righteousness and truth, Geoffrey is ready to show the discouraged soldiers that their lives can also be changed. He believes they can also rise to new heights they once before thought not possible. Geoffrey delivers a message of hope to the soldiers that they can recover their lost vigor and lost innocence. Geoffrey encourages the soldiers that they can embrace a new life, a new reality, and a new sense of being through the Good and Wonderful One.
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     After hearing Geoffrey’s words of encouragement and hope, the multitudes of soldiers are inspired. They have renewed courage and confidence in what the God of Jandor did for them and what He was going to do in and through them in the future. Their hope for peace in Jandor and the role they had in helping bring it about was renewed. The soldiers were filled with feelings of invigoration and excitement as they focused their expectations and hope for the future in the Good and Wonderful One.
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     As a result of the various trials and challenges Geoffrey has faced up to this point in his life, he finally comes to terms with himself. Geoffrey now knows that even though he may undergo trials in the future, he is able to overcome them. He has come to a point in his life that he knows his strengths and weaknesses. Geoffrey now knows who he is as a person, and he has come to terms with the difficult challenges of his past. He accepts and understands why he did not live a flawless, ideal life. Due to Geoffrey's renewed faith, understanding, and confidence in the God of Jandor, he knows that he will prevail no matter what may befall him.
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     As Geoffrey returns back home to his Land of Stonehaven, he takes everything he learned through his journey at the Battle of Granador with him. He is prepared to help awaken, lift up, and transform his formerly enslaved community of people in Jandor from their depths of dispair and disillusionment after living for years under Trisidian's reign of terror. Geoffrey commits himself to help the people of his beloved Land of Jandor in advancing their lives to greater heights. He seeks to encourage them to embrace the newly given freedom from Trisidian tyranny by embracing a renewed life through personal hope in the Good and Wonderful One.
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REFERENCES
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Dancyger, Ken.  Global Scriptwriting.  Boston:  Focal Press, 2001.
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Dirks, Tim.  The Godfather (1972).  (On-line).  Retrieved October 22, 2002 from the World Wide Web ( http://www.filmsite.org/godf.html ).
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Howard, David and Edward Mabley.  The Tools of Screenwriting — A Writer’s Guide to the Craft and Elements of a Screenplay.  New York:  St. Martin’s Griffin, 1993.
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Keane, Christopher.  How to Write a Selling Screenplay.  New York:  Broadway Books, 1998.
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McKee, Robert.  Story — Substance, Structure, Style, and the Principles of Screenwriting.  New  York:  Regan Books, 1997.
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Random House College Dictionary (Revised Edition).  New York:  Random House Publishers, Inc., 1980.
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Ryan, James.  Screenwriting from the Heart — The Technique of the Character-Driven Screenplay.  New York:  Billboard Books, 2000.
The Wolves of Trisidian -- A Novel by Adrian Robbe

The Use of Light and Shadows by a Film Director

Light as a Tool of Cinema

     One of the major elements that is key to the effective communication in a motion picture is the use of light. This is a major tool of cinema used by a film director. Through the use of cameras, lights, lenses, and editing techniques, a director can actually mold the perception of the audience viewing the movie. This is the essence of the aesthetics (i.e., the understanding and appreciation of beauty) of cinema. With the tool of light, a film director can express artistic talent through the media of film.

Light and the Varying Degrees of Shadows

     Light is the signal that our eyes receive and our brain translates into perceptions" (Zettl 16). Therefore, when a person views a movie, they are actually looking at a light show. When the images appear at 24 frames per second, the human eyes see them as moving objects. This phenomena is called "persistence of vision." Light can be manipulated through the use of shadows to create moods that make the viewer "see and feel in specific ways" (Zettl 34). For example, varying degrees of shadows can be used to accentuate drama, mystery, and suspense. This was an effective technique that was used by film director Orson Welles in his film, Citizen Kane.
The video "Citizen Kane - Susan Alexander at the El Rancho" at https://youtu.be/47l_q4YjSc4 was uploaded by carbondaleyarngirl to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." Sample Application of the Use of Shadows to Novel Writing

     I incorporated the use of shadows into several different scenes throughout the writing of my epic medieval fantasy novel, The Wolves of Trisidian.  I purposely introduced shadows into one particular scene involving the protagonist, Sir Geoffrey Talbot, when he was chasing after a mysterious man dressed in a black, hooded cape who was hiding among the crowd outside the chapel at Castle Stonehaven. As you read the following narrative excerpt from the book, you will experience firsthand how incorporation of shadows into the narrative of your novel can introduce feelings of drama, mystery, and suspense. Shadows can be caused by a body or some other type of object that intercepts light and subsequently casts a dark image or images onto the ground or some other type of surface. Effective use of shadows can also introduce periods or instances of unhappiness, gloom, doubt, mistrust, fear, as well a doubt. They can also be used to solicit feelings of a prevailing or pervasive threat in the mind of the reader.

Narrative Excerpt with the Use of Shadows in The Wolves of Trisidian

     My heart started beating faster and faster. Sweat started to seep out of my brow. When I dashed into the front door of the stable, I saw him running rapidly down the center aisle of the barn. I shouted, “William, is it you? Stop!” Again, he gave no answer.
       I didn’t want to lose sight of him. The soles of my shoes pounded the ground faster and faster. The rays of the bright sun flashed through the bleak darkness inside the stallion’s barn. Light was beaming through the broken timbers in the roof of the old, wooden structure. Dark shadows filled the stable. They appeared like demons trying to spear my soul. My heartbeat skipped. It faltered for a fleeting instant. Thoughts of dread and terror scrambled through my mind.

Reference

Zettl, Herbert. Sight, Sound, Motion -- Applied Media Aesthetics. Belmont, CA: Wadsworth Publishing Company, 1973. The Wolves of Trisidian -- A Novel by Adrian Robbe

The "Dick Van Dyke Show" -- Situation Comedy at its Best

The Best of The Dick Van Dyke Show, Vol. 1

     The Dick Van Dyke Show provided America with a "guide to human behavior" (Ott, 2001, p. 1328). This television situation comedy portrayed the way that a husband (Rob Petrie) and wife (Laura Petrie) behave and react in response to certain conditions of life. For example, the screenplay writers provided difficult marriage situations such as "a jealous spouse [or] money troubles" (Ott, 2001, p. 1328) to demonstrate how Rob and Laura as husband and wife would react and deal with each other under various problematical circumstances. The particular aspect of the Dick Van Dyke Show that attracted the television viewing audience was its unique application of humor. The show is extremely "funny because it depicts ordinary individuals getting involved in extraordinary situations and trying to claw their way out of them" (McConnell, 1996, p. 19).

Carl Reiner -- The Show's Producer

      The Dick Van Dyke Show presented Rob and Laura Petrie as a very popular, predominant, and fashionable couple during the 1960s. The show's producer, Carl Reiner, did an outstanding job as the "creator of the suburban humor [in the show and] provoked by way of reaction a... [caricature] travesty... too odd to identify and exclude" (Limon, 1997, p. 133). The show had a unique, funny quality to it that elicited amusement and laughter among the television viewing audience. Perhaps, it is the ability to see something funny in ourselves (and to laugh at ourselves) as we live vicariously through the common everyday situations that Rob and Laura experienced and reacted to on the show. 
The video "The Dick Van Dyke Show - random part 2" at https://youtu.be/5BPODKQLjx8 was uploaded by Sa Peri to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." Sample Application of Humor to Novel Writing

     I incorporated comedy into several different scenes throughout the writing of my epic medieval fantasy novel, The Wolves of Trisidian.  I purposely introduced humor into one particular scene involving the protagonist, Sir Geoffrey Talbot, during a formal ceremony at the Stonehaven Chapel when he was being dubbed a Knight of Stonehaven for his valor during the recent Battle of Granador. The following excerpt from the book depicts Geoffrey simply as an ordinary individual in an extraordinary situation with his brother Garren who was transfigured into the visage of a White Wolf of Actalon. [Note:  You will have to read the book to find out how that happened (smile).] After the dubbing ceremony concluded, Garren demonstrates his happiness for Geoffrey being dubbed a knight in a comedic way. Garren's behavior draws great focus and attention by the people in the audience. As a result of Garren's peculiar behavior at the conclusion of the formal ceremony, Geoffrey claws his way out of the situation by turning Garren's antics into a situation filled with complete laughter. Geoffrey immediately cries out to the attending audience with a humorous statement that brings uncontrollable mirth to all of the observers in the chapel. Applying humor to this extraordinary situation serves as a means of attraction by the readers of the book as they relate to Geoffrey as the central character of the story in how he demonstrates an uncanny ability to think fast on his feet and in a unique situation. After you read the excerpt below, you will see how Geoffrey successfully clawed his way out of the situation by turning the circumstance into a laughable situation for all.

Humorous Excerpt from The Wolves of Trisidian

   I looked at Garren and said to the audience, “Moreover, I am grateful for my brother, Garren. Born through the unseen world as a White Wolf of Actalon, we were drawn together as one through our brotherly relation and kindred spirit. He is my guardian.” I conveyed to Garren, Thank you, dear brother.

     After I was done conveying to Garren, he immediately jumped into the center aisle of the chapel. His tail moved to the upright position signifying his happiness. Garren started to wag his tail back and forth in a rapid manner. His joyful affection was further exemplified through a series of unexpected frolicking behaviors. Garren barked, jumped, and turned around in circles. All of the people in the chapel burst out laughing. The audience was bellowing out in laughter to such a great degree that they couldn’t control their mirth. They were half laughing and half crying in amusement.

     I jokingly said to the audience, “This is what happens when you cut one’s wolf loose!”

     The audience broke out in laughter again. Their hilarity filled the entire chapel with a full-hearted sound. Garren wagged his tail more and more. He barked happily at me. The people in the audience threw their heads back and laughed at the fun-filled, humorous exchange between Garren and me.

 REFERENCES

 Limon, John. (1997). Nectarines. The Yale Journal of Criticism, Volume 10, Issue 1.

 McConnell, Frank. (February 9, 1996). How "Seinfield" Was Born. Commonweal, Volume 123, Issue 3.

 Ott, Bill. (March 1, 2001). The Key to All Mythologies. The Booklist, Volume 97, Issue 13.

Key Phrases on the Television Police Drama Series "Dragnet"

Image via Wikipedia -- https://en.wikipedia.org/wiki/File:Ja... Dragnet and Jack Webb

      One interesting aspect of the television show "Dragnet" was how it revolved around one particular man -- Jack Webb. Webb was not only the primary actor in the program, but he also served as the director and producer of this Los Angeles-based police drama series.

The Role of Lieutenant Joe Friday and His Use of Key Phrases

      Webb's involvement and role as Lieutenant Joe Friday was significant to the success of the series. In fact, he would announce the show in first person as the character Joe Friday.  In doing so, he used Key Phrases which added to the interest of the popular television series. Speaking in a monotone voice and being all business, he would also say at the closing of each show, "The story you have just see is true. Only the names have been changed to protect the innocent." (The Fifties Web, 2010).

     Webb's phrases on the show became very popular among the viewing audience. The trademark phrases of Lieutenant Joe Friday included “My name's Friday -- I'm a cop" and “Just the facts, ma'am.” In addition, Webb's strong, confident, no-nonsense, business-like manner against the "backdrop of economically and culturally diverse neighborhoods [of Los Angeles] and criminals who are just as diverse, from diamond thieves and Hollywood movie moguls to street gangs, copycat serial killers, international terrorists and kidnappers" (Milkman, May 2009) served as a pivotal point of interest and attraction for the television audience.
The video "Dragnet Opening and Closing Theme 1951 - 1959 and 1967 - 1970 " at https://youtu.be/o1hgGchn8p8 was uploaded by TeeVees Greatest to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." Sample Application of a Key Phrase to Novel Writing

     I incorporated a Key Phrase throughout the writing of my epic medieval fantasy novel, The Wolves of Trisidian.  The Key Phrase was "That the Weak May Live!" It was quoted by  different characters at different times at different locations throughout the story. In fact, I used this particular phrase a total of ten (10) times in the novel. In the story of "The Wolves of Trisidian", this Key Phrase served as a motto that was adopted by the soldiers of the Army of Jandor. For example, when a soldier of Jandor greeted another soldier of the Alliance, or when they departed each other's presence, it was tradition for them to grip arms and cry out "That the Weak May Live!" This Key Phrase was an expression often used among the military soldiers because it contained the singular guiding principle of the various military organizations of the Jandor Alliance member nations that they supported.

 REFERENCES

"Dragnet." (2010). The Fifties Web. Retrieved on 13 September 2010 from http://www.fiftiesweb.com/tv/dragnet.htm

Milkman, Katherine. (May 2009).  Studies of Intrapersonal Conflict and its Implications:  A dissertation presented by Katherine L. Milkman to The Information, Technology and Management Program Harvard University and Harvard Business School, pp. 106-107.

Social and Aesthetic Value of a Film: The True Measure of Success

Film Genre vs. Genre Film
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     In his article, "From Hollywood Genres: Film Genre and the Genre Film," Thomas Schatz describes the essential differences between these two perspectives regarding film. Basically, a "film genre" is the set of rules (plot, character, setting, style, etc.) for a particular genre -- such as Westerns. In contrast with "film genre," "genre film" is the actual event that fulfills the rules of a specific genre -- such as the production of a film that complies with the structural components of the Western film genre.
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Three Different Levels of Genre Production
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      Schatz says that genre production itself should be looked at on the following three different levels:
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      1. Those characteristics shared by virtually "all genre films" (and thus by all genres),
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      2. Those characteristics shared by all the films "within any individual genre", and
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      3. Those characteristics "that set one genre film off from all other films." (Braudy and Cohen, p. 645).
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Real Quality of a Film:  The 'Third Level' of Genre Production
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     The characteristics of the third level where a film is set off from all other films determines the real quality of a film. This level of analysis rests in the film's "social and aesthetic value" (Braudy and Cohen, p. 645). One should not just analyze a film in view of its compliance to established structural components of a particular film genre. The social and aesthetic features of the film should be evaluated, as well. These two features should be considered fundamental to the making of every film. A film's ability to generate aesthetic emotional thoughts and feelings regarding societal values is a true measure of success for every filmmaker. A genre film that possesses social and aesthetic value is a film that has true meaning to the audience.

     An example of a fantasy film that incorporates social and aesthetic value that separates it as a fantasy genre film from all other ones is "Harry Potter and the Deathly Hallows - Part 2". Although the Harry Potter stories are established in a fantasy world, they are several themes that prove to be thematically significant. Two of the major recurring themes within the films are the ethical, societal issues issue of good versus evil as well as right versus wrong. In the video movie trailer below, you can observe a touch of the climactic battle scene between good and evil that is truly decisive in nature. By incorporating this battle scene into the movie, the film presents the reality of war in society and the struggles that exist between people as well as nations to achieve their separate goals.
     The video "Harry Potter and the Deathly Hallows - Part 2" Trailer 1" at https://youtu.be/5NYt1qirBWg was uploaded by WarnerBrosPictures to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use."

Application of the 'Genre Film Theory' to Novel Writing -- An Example

     I incorporated the 'genre film theory' several times throughout the writing of my epic medieval fantasy novel, The Wolves of Trisidian. In one particular instance, I accomplished this by generating aesthetic emotional thoughts and feelings regarding societal values regarding the ethical issue of war.

    Given the moral issues and varying perspectives that exist in society today on war and peace (e.g., similar to the issue of whether it is right or wrong for a nation to have nuclear weapons, and under what conditions can they be used), I incorporated a similar controversy into the book that addresses the ethical issue of having a walled versus an unwalled city as a means of defense. In the following excerpt from the story of The Wolves of Trisidian, I incorporated a scene where the Supreme Allied Commander of the Jandor Alliance (Sir Vezian Calduro) is discussing the unwalled City of Granador with the central character of the story, Squire Geoffrey Talbot. In this particular scene, Sir Vezian has already assembled his Army of the Jandor Alliance together in order to protect the people living in the unwalled City of Granador from the impending invasion by the Army of Trisidian. As the discussion between Sir Vezian and Squire Talbot ensues concerning this matter, the varying perspectives on war can be gleaned by the reader, to include:

    (1) Total Pacifism (where all war is evil and no people should take up arms in defense of their country and that a nation should 'turn the other cheek' and 'love your enemy').
    (2) Relative Pacifism (where people are willing to allow their government to go to war as long as they do not have to bear arms.
    (3) The Just War Theory (where several conditions must exist before any war falls into the category of being a 'just' war, such as a formal declaration of war, last resort, just cause, right intention, and that the war must be righteous [a defensive war, not an aggressive war], controlled [where unnecessary violence is excluded], and a predictable outcome [where it has been calculated that there is a strong prospect for victory].

     I attempted not to become too overly focused on the ethical issue of war in this particular scene in the book. I felt that doing so would prevent the readers from becoming too distracted from the overall arch and context of the story at this particular point in time. Therefore, my intention was to strike a delicate balance in this particular scene where the reader's thoughts would be stimulated regarding the societal issue of war itself. It was my goal to incorporate the ethical controversy of war versus peace in this scene of the story so that the readers would be encouraged to contemplate the matter from their own personal perspective on what is considered to be right and wrong. Doing so would hopefully generate aesthetic emotional thoughts and feelings within the readers regarding societal values on war versus peace which in turn would have true meaning to the audience.

The excerpt from the book that adds social and aesthetic value to the story of The Wolves of Trisidian is as follows:​

      Sir Vezian’s expression grew serious. “The soldiers of Actalon, Stonehaven, and Granador are well versed in military warfare, but defending an unwalled city has many challenges.”
     Squire Geoffrey replied, “Even though their surrounding villages and towns have been massacred in the past, the people of Granador still do not permit construction of protective walls around them.”
     “The leaders of the Province of Granador believe the absence of walls promotes peace and trust within the region. They are strong in this belief.”
     “Their belief is stalwart, especially after having endured such terrible hardship over the years. They have endured many attacks from the Dark Riders and Black Wolves of Trisidian.”
     “The people of Granador remain steadfast in having unwalled cities. It is a testimony to the regions around them.”
     “They are sincere in their thoughts concerning this matter.”
     “They believe walled cities tear away from the Alliance’s ultimate goal of world peace and unity,” Sir Vezian said.
     “Having unwalled cities puts the lives of the people at great risk. They are constantly facing the danger of being invaded by military forces outside their region, like the Army of Trisidian.”
     “True, but to help avert this temptation by their enemies, the Province of Granador became a member of the Alliance of Jandor. They are trusting their membership will dissuade aggressors from attacking them.”
     “It apparently is still not sufficient to stop Trisidian from launching their upcoming invasion upon Granador."
     “The issue of walled cities versus unwalled cities has always been a controversial issue among the people of Jandor.”
     “The Jandor Alliance is definitely a strong, stabilizing force and deterrent to other military forces from attacking member nations. Nevertheless, I still believe that strong, defensive walls still help ensure peace and security in the land.”
    Sir Vezian said, “I do not disagree with you, Geoffrey. Nevertheless, all that being said, the debate over walled versus unwalled cities will continue to be an issue for the Jandor Alliance."

Reference
​
 Braudy, Leo and Cohen, Marshall. Film Theory and Criticism: Introductory Readings. 5th ed. Oxford: Oxford University Press, 1999.

Schatz, Thomas. (1988). "The Genius of the System: Hollywood Filmmaking in the Studio Era." New York, New York: Henry Holt and Company.

Use of Sound Effects by Orson Welles in the Movie "Citizen Kane"

Cinematic Tools of Orson Welles in "Citizen Kane"
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      As the director of the film Citizen Kane, Orson Welles integrated all of the tools of narrative cinema into the movie, including the use of light, two-dimensional space, three-dimensional field, time-motion, and sound together. This particular blog post addresses his integration of the essential element of sound effects in this classic film -- in particular, the "echo sound effect". I will also address how I integrated this filmmaking concept regarding the use of "echo" sound effect into the writing of my epic medieval fantasy fiction novel, The Wolves of Trisdian.
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Use of Sound Effects in "Citizen Kane"
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      Working from years of experience with radio, Orson Welles used sound effects in the production of "Citizen Kane." The "tension of suspense are peculiarly dependent on the use of sound" (Boorstin 131). In line with this thought, the use of an 'echo sound' can add to the aesthetic quality and message of the scene being portrayed. An "echo is caused by the direct sound being reflected off a nearby surface... [and] the less absorbent the material, the more distinct the echo" (Mott 47). Welles saw the benefit of using such a sound effect in the scene where Kane and Susan are together alone in a large, overpowering, auditorium size, living room. "In order to emphasize the spaciousness of Xanadu, and at the same time to underline the emptiness of Kane's life there with Susan, he used an echo box or chamber" (Murray 28).
     The above video "Citizen.Kane.(1941).WMV" at https://youtu.be/rIz_xhYK2Mo was uploaded by deanxavier to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of Sound in Novel Writing -- An Example
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     I incorporated sound several times in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following three excerpts are from the book and depict different scenes that utilize the concept of echoing, repetitive sounds (or lack thereof) that can (or cannot) be heard after being reflected from its source. The first echoing sound deals with repetitive rasping cries of ravens flying high above a soldier's encampment. The second echoing sound refers to the rumbling tremor and angry, low-pitched growls from a large number of stampeding Black War Wolves as their intonations resound off the walls of the surrounding mountains. The third excerpt involves a reference to the 'lack' of echoing sounds on the Plain of Granador after the conclusion of a fierce battle between two armies was fought, leaving only the corpses of dead men in an eerie silence on the empty plain.
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Excerpt #1 - "The Echoing Rasping Cries of Ravens"
    I continued my walk to Sir Vezian’s campsite. No human voice could be heard throughout the soldier’s encampment. The absence of human expression created an eerie silence. Suddenly, the stark, croaking sound from the throat of a large, gritty raven echoed from high above me. The repeated sounds of its creepy call grated on my nerves as it flew over our military campground. After each rasping cry, the unsympathetic raven clamped its bill shut with a loud snap. In between the gurgling calls, I heard the rushing sound of the raven’s wings beating against the cold, morning air. A few moments later, the raven’s harsh sounds could not be heard as it continued its flight into the dark, western sky. By this time, the bitter moon that towered over Mount Turadon during the restless night had now vanished away. The Zephyr winds from the west of Granador were lifeless and cold. I felt as if the Plain of Granador was left deprived of life and destitute of all living things. Was this a sign of things to come?
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Excerpt #2 - "Their Angry Roars Echoed Off the Walls"
     The Army of Trisidian like a witch’s cauldron seethed forward at four-beat gait gallop speed. The Riders with their Black Wolves were as locusts gathering to a stream before a fire. The thundering sound of the onrushing army blanketed the plain. The rumbling tremor of the stampeding Army of Trisidian was so great that I could actually sense the vibrations sweeping across the hard soil of the flat grassland. Bloodthirsty cries of Black Wolves broke through the air. Their angry, low-pitched growls, snarls, and roars echoed off the walls of the mountains surrounding the City of Granador. Like blasts of trumpets blown in wars, the raging voices and intonations of Trisidian’s Dark Riders saturated our ears. The legs of the stallions and wolves stretched forward in rapid, repetitive motion. Dust flew into the air as the feet of the stampeding stallions and wolves pounded the clay-baked, earthen plain.
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Excerpt #3 - "Silence Prevails with No Echo Now"
     My sight was bound with eyes unclosed. Amidst the dim, smoky plain, the torn and bloody battle-corpses of dead men, wolves, and stallions were in full view before me. There were myriads of them. The dark blood on their bodies was now all deeply clotted over. The spurs on the Dark Riders would never strike again the rounded flanks of their black stallions. Like riches from the squanderer’s hand, their corpses were flung prodigal to the earth. With each step I made through the war-torn plain, I thought about how these warriors, wolves, and steeds from Trisidian were all doomed to fall, bleed, and die as they charged to the unwalled City of Granador. Their voices rouse no echo now. Their footsteps have no speed. All that is left of them now is the empty, shell-like cocoon of their physical bodies that once served as their harbor of life. But now, their corpses are heaped into one wide charnel-pit. The wages of their evil ways shall rest upon this plain of dread. They are but a shadow now. The Plain of Granador carries the taint of Trisidian’s blood in its soil. The Army of Trisidian strove terribly amidst the fatal fiery ring that enamored their fight, but they have now met their fate.
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REFERENCES
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 Boorstin, Jon. Making Movies Work -- Thinking Like a Filmmaker. Los Angeles: Silman-James Press, 1995.
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 Mott, Robert L. Sound Effects -- Radio, TV, and Film. Boston: Focal Press, 1990.
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 Murray, Edward. Ten Film Classics -- A Re-Viewing. New York: Frederick Ungar Publishing, Co., 1978.

Note: For a more detailed discussion of Orson Welles, his movie "Citizen Kane," and the various tools of narrative cinema he used in this great Hollywood classic, check out Techniques of the Film Masters (ISBN 978-1435743472) which is available in paperback print as well as digital download formats.