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Arsenal Script | Aimbot, Silent Aim, And More! ...


ALONGSIDE THE FIELD'S INCREASING INTEREST in research that uses "primary materials other than films themselves" (Smoodin 2) to investigate factors related to audience reception, regulatory systems (censorship), and the material aspects of film and media production, other studies continue to show the value of analyzing films' representational strategies. In the work that explores the rhetoric of cinematic representations, scholars consistently draw on production terms such as "close-ups," "jump cuts," and "point-of-view shots" to identify and describe the meanings and ideological implications about race, gender, class, sexuality, and so on that are conveyed by filmic choices. (1) Stanislavsky's terms for script analysis can contribute to those studies. Script analysis terms not only are used by actors and directors to create performances; they also provide vocabulary for discussing character dynamics in completed films. (2) As a look at scenes from the Coen brothers' black comedy Fargo (1996) and Kevin Macdonald's epic biopic The Last King of Scotland (2006) should suggest, Stanislavsky's terms for script analysis are well suited to ideological studies of film because they facilitate analysis of individual and social power relations. Built as they are on established conventions of dramatic structure, scenes from these two films show that characters with waning power might resist succumbing to the desires of stronger characters but that they are overtaken, in sometimes humorous, sometimes frightening ways, by more dominant characters. (3)




Arsenal Script | Aimbot, Silent Aim, And More! ...


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