The elements for a script are:

1.      Scene Heading

2.      Action

3.      Character Name

4.      Dialogue

5.      Parenthetical

6.      Extensions

7.      Transition

8.      Shot

SCENE HEADING

Scene Heading are aligned flush left is about 1.5" from the edge of the paper. The Scene Heading is written in ALL CAPS. Use a period after the INT. or EXT., a hyphen between the other elements of the Slugline.

The Scene Heading, sometimes called Slugline, tells the reader of the script where the scene takes place,

indoors (INT.) or outdoors (EXT.)

Name the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD,

And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN... information to "set the scene" in the reader's mind.

The Slugline can also include production information like CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT.

Here are examples of Scene Headings

1.      INT. BEDROOM – MORNING

2.      EXT. LAS VEGAS STRIP - SUNSETINT. OFFICE - NIGHT - CONTINUOUS ACTION

3.      EXT. KEY WEST MARINA - DAWN – ESTABLISHING

ACTION

The Rules:
Action runs from left to right margin, the full width of the text on the page. Text is single-spaced and in mixed case.

When you introduce a speaking character for the first time, you should put the name in all caps.

The ACTION or Description sets the scene, describes the setting, and allows you to introduce your characters and set the stage for your story.

Action is written in REAL TIME.

CHARACTER NAME

The Rules:
The CHARACTER NAME is formatted in uppercase letters and indented 3.5" from the left margin.

Before a character can speak, the writer inserts a CHARACTER NAME to let the reader know this character's dialogue follows.

A character name can be an actual name (JOHN) or description (FAT MAN) or an occupation (DOCTOR).

 

DIALOGUE

The Rules:
DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5".

DIALOGUE rules apply when anyone on screen speaks.

Dual Dialogue or Side-By-Side Dialogue

When two of your characters speak simultaneously, that's called dual dialogue or side by side dialogue. In the script we've been following, our characters might have this conversation:

Frankie and Julie are in a heated argument.                 FRANKIE                                     JULIE        Get out of my life! I can't             Don't you yell at me! I'll leave        stand the sight of you any              when I'm when I'm good and        more!!                                  ready! Tough!!

PARENTHETICAL

Parentheticals are left indented at 3.0" and the right margin is 3.5" although that is a bit flexible.

A Parenthetical remark can be an attitude, verbal direction or action direction for the actor who is speaking the part.

Parentheticals should be short, to the point, descriptive, and only used when absolutely necessary.

These days, Parenthetical are generally disfavored, because they give direction to an actor that may not be appropriate once on the set.

 

FRANKIE

(wryly)

Good mornin', luebird.

JULIE

(sleepily)

What?  What time is it?

FRANKIE

(getting out of bed)

After six. You're gonna be late

again and I don't want to hear    it.

EXTENSION

1.      O.S. - Off-Screen

2.      V.O. - Voice Over

An Extension is a technical note placed directly to the right of the Character name that denotes HOW the character's voice will be heard by the audience. An Off-Screen voice can be heard from a character out of the camera range, or from another room altogether.

Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a longT-shirt, then swings her legs onto the floor and shuffles off to the bathroom.                                       

FRANKIE

(continuing)

You're welcome.

(beat)

Hey, how long you gonna be? I've   got a meeting and I need to   shower.

JULIE (O.S.)

Twenty minutes.

TRANSITION

We must begin with this remark: Nowadays, in Spec Scripts, transitions are frowned upon, a waste of a couple of lines you could better use for brilliant dialogue, and are only used when absolutely necessary.

The Rules:
When you DO use a Transition, the left margin is at 6.5" and a right margin of 1.0". Transitions are formatted in all caps and almost always follow an Action and precede Scene Headings.

Transitions you may be familiar with are:

1.       CUT TO:

2.       DISSOLVE TO:

3.       SMASH CUT:

4.       QUICK CUT:

5.       FADE TO:

6.       FADE OUT (never at the end of the script)

 

SHOTS

The Rules:
Shots are formatted like Scene Headings, flush left margin, all uppercase. Blank line before and after.

A SHOT tells the reader the focal point within a scene has changed. Here are some examples of shots:

1.      ANGLE ON --,EXTREME CLOSE UP --,PAN TO --,FRANKIE'S POV --,REVERSE ANGLE --

ABBREVIATIONS

b.g. = background.  b.g. is used in an action paragraph.

Frankie sits on the bed tying his shoes. In the b.g., Julie takes money out of his wallet. She also pockets his car keys.

CGI = computer generated image.  CGI denotes action that cannot be filmed normally and will require the use of computers to generate the full imagery, as used in films like The Matrix.

CGI: His mouth begins to melt, then disappears entirely.

 f.g. = foreground. f.g. is used in action the same as b.g., except the action takes place in the foreground.

Abbreviations

SFX = sound effects

SFX tells the sound people an effect is needed.

SFX: The BLAST of a train whistle SPFX = special effects

SPFX announces that a special effect is necessary (one that might not require the use of CGI).

SPFX: A beam of light illuminates Frankie's face. His features slowly melt likea wax figure. M.O.S. = without sound

The story goes that a German-born director (perhaps Josef von Sternberg, who discovered Marlene Dietrich) wanted to shoot a scene without sound and told the crew to shoot "mit out sound," a phrase which the crew found humorous and thus proliferated it. It is most commonly used to show impending impact of some kind.

M.O.S. Horses stampeding down Main Street. POV = point of view

The camera 'sees' the action from a specific character's position

JULIE'S POV - Frankie sits on the bed tying his shoes

 

MONTAGES

A MONTAGE is a cinematic device used to show a series of scenes, all related and building to some conclusion.

The MONTAGE is formatted as a single shot, with the subsequent scenes action elements of the complete sequence.

 Although a French word, it was created by Russian director Sergei Eisenstein as  to elicit emotions on several levels.

 Most often it is used as a passage of time device. Think of a baby being born, then rolling over, then taking its first steps, and finally running through the sprinklers. For example:. 

A SERIES OF SHOTS

A SERIES OF SHOTS is similar to a Montage, but it usually takes place in one location and concerns the same  action.  Think of the movie Earthquake...

SERIES OF SHOTS  A) Store windows start to rattle and shake. B) Hanging signs swing back and forth. C) Bricks and shards of glass begin to fall onto the sidewalks. D) People run for cover. A SERIES OF SHOTS is formatted as a SHOT.

Just like a Montage, the shot series are action paragraphs and may also be numbered 1) 2) 3).

INTERCUTS

Occasionally in a script, you might want to cut back and forth between two or more scenes. These scenes are occurring at the same time. Instead of repeating the Scene Heading for each scene over and over, an INTERCUT is used. This gives the reader the sense that the scene is moving rapidly back and forth between locations. There is a great sequence of intercuts in The Deer Hunter of shots of hunters out in the woods with a wedding going on simultaneously, at a different location. Here's another example:

INT. SHERRI'S APARTMENT - NIGHT Sherri starts disrobing in front of her open bedroom window. INT. LENNY'S APARTMENT - NIGHT Lenny gets up to cross to the fridge to get a beer. He looks out his window andcatches a glimpse of Sherri across the courtyard. He freezes, watching her. INTERCUT BETWEEN LENNY AND SHERRI Sherri sits on the bed and unbuttons her double-breasted suit jacket. Lenny moves closer to the window for a better vantage point.

TITLE PAGE

The TITLE PAGE has specific information on it. Type it in the same font as your script, Courier 12. It should not be on special paper, no graphics - it should just contain only the following information:

Centered on the page, vertically and horizontally - The title of your script in bold type if possible

Two lines below that, centered on the line - Written by (author of novel or short story)…………………

Two lines below that, centered on the line - Name of Author (and co-writer, if any)

In the lower right hand corner your contact information (include agent or email address)

In the lower left-hand corner you can put Registered, WGA or a copyright notification.

                       

  The Good, The Bad, The Thin                                    Written by                                   Fatty Turner  

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Modern Mass Media Emerging Trends

Audience Segmentation

Mass audiences are becoming less “mass” and more selective. About 3 out of every four adults read a Newspaper in the 1960’s . Today that is down to one out of two.  Readers’s digest had a circulation of 18 million in 1976 today it is down to around 10million. All these numbers illustrate the segmentation or fragmentation of mass audience.

Reason for this situation

1.    Many in today’s audience time has become a scarce commodity.

2.    There are more media today to choose. In 1950’s only one TV network available in market. Now audiences can available hundreds of cable and satellite channels, DVD’s, Video games and YouTube.

Convergence

It means or defines as the process of coming together or uniting in a common interest or focus.

Corporate Convergence

This trend started in the 1980’s. As digital technology emerged convergence also initiated thus a vision of one company delivery is enough for the every service. ex: Production of SUN networks

Operational Convergence

This occurs when owners of several media operation combine together.

Advantages

It saves money, because rather than hiring a separate news staff for each medium.

Same reporters produce stories for the paper, web sites, and TV station.

Device Convergence

Combining the function of two or three devices converges into one mechanism. Apple     i Phone for example  a phone MP3 player and a camera and it can connect to the internet. All media seem to be converging on the internet as a major channel of distribution.

News Papers and Magazines have online editors. Music downloads are fast replacing CD’s as the preferred delivery method.  Movies and even books are also available in digital download forms.

Increased audience Control

Audience members are more in charge of what they want to see and hear. Recent technological advances have given more power to the consumer. The VCR allowed recording a program Audience can choose from 24 hours cable news networks. Internal sites such as CNN.com.  and aggregate news from different source.

If an audience is not content with the traditional media outlet  he can consume online media content such as blogs online papers

Multiple platforms

Recording companies realized that consumers were watching more videos on their computer screen than on their screen. Almost all major news papers and magazines have web sites for their digital versions that usually include video clips.

User Generated Content-UGC

It is a peer production. It has been the most celebrated  and popular trend over the past few years, because of its friendly technology.Creating content at FaceBook or a Myspace page is ridiculously simple.

From blogs to YouTube, from podcast to Facebook audiences were the founders and framer of the new digital democracy. Through it a audience can easily download or upload their content.  A person with just a minimum technical skill can use a blogging program.

70% of the world’d digital data will be created by individual not corporation.

Web.2.0 is proposed second generation of web based services. Such as social networking   sites, wikis, and communication  tools. Web 2.0 encourages sharing and collaboration.  Where as the old web 1.0 was about companies. Web 2.0 is about communities.

web 1.0	web  2.0
about companies	about communities.
About pages	About people
About down loading	About Uploading

society

Much of modern Mass communication involves People  looking at screens that is Tv Screen and computer screen. The movies have become mobile as well. Apple iPod contain enough memory for thousands of songs and photograph.

 Source 

Joseph Dominick 

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Abbreviations

Abbreviations as shortcuts in scripts. Here are some others.

b.g. = background b.g. is used in an action paragraph.

CGI = computer generated image:CGI denotes action that cannot be filmed normally and will require the use of computers to generate the full imagery, as used in films like The Matrix.

f.g. = foreground. f.g. is used in action the same as b.g., except the action takes place in the foreground.

SFX = sound effects. SFX tells the sound people an effect is needed.

SPFX = special effects

M.O.S. = without sound the story goes that a German-born director Sternberg, who discovered &wanted to shoot a scene without sound and told the crew to shoot "mit out sound," a phrase which the crew found humorous and thus proliferated it. It is most commonly used to show impending impact of some kind.

POV = point of view The camera 'sees' the action from a specific character's position

A MONTAGE is a cinematic device used to show a series of scenes, all related and building to some conclusion. Although a French word, it was created by Russian director Sergei Eisenstein as a "montage of attractions" to elicit emotions on several levels. 

The MONTAGE is formatted as a single shot, with the subsequent scenes action elements of the complete sequence. It isn't necessary, but some writers write END OF MONTAGE when the montage is completed.

A MATTER OF STYLE: Some writers will incorporate a series of shots into a script without noting it as such. This generally contributes to a smoother flow of the action. The action lines might be short, descriptive sentences on separate lines.

Once in a while, it's necessary to write dialogue with a series of SHORT LINES. One example might be if your character is reciting poetry, or singing a song.

Song lyrics are typically written in all caps.

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Transition &Shots

When you DO use a Transition, the left margin is at 6.5" and a right margin of 1.0". Transitions are formatted in all caps and almost always follow an Action and precede Scene Headings.

• CUT TO:

• DISSOLVE TO:

• SMASH CUT:

• QUICK CUT:

• FADE TO:

• FADE OUT (never at the end of the script)

Frankie pulls on a pair of shorts, slips into some running shoes and exits.
CUT TO:
Shots

• EXTREME CLOSE UP --

• PAN TO --

• FRANKIE'S POV --

• REVERSE ANGLE --

A PRISONER shoves a homemade shiv against the throat of a PRISON GUARD.
PRISONER
(trembling)
I'll kill him! I mean it.
PRISON GUARD
Take him out! Now! Do it!
ANGLE ON - A PRISON GUARD SHARP-SHOOTER
as he lines up the shot, finger poised on the trigger.
PRISONER
I want to talk to the Warden. NOW!
INSERT - RANSOM NOTE

• Never end a page with a Scene Heading. The ONLY time this is acceptable is if another Scene Heading or Shot follows. (An example would be an Establishing shot and then an interior scene heading.)

• Never start a page with a Transition.

• Automatically place Continued: notations when it breaks an Action paragraph or a Dialogue.

• Never end a page with a Character Name line. At least two lines of Dialogue if there are that many (including a Parenthetical, if used) must follow.

• Never end a page at a Parenthetical. Dialogue MUST follow.

• If you have Dialogue, a Parenthetical and then Dialogue again, break the page BEFORE the Parenthetical.

When two of your characters speak simultaneously, that's called dual dialogue or side by side dialogue.

Dual Dialogue or Side-By-Side Dialogue
Frankie and Julie are in a heated argument.
FRANKIE JULIE
Get out of my life! I can't Don't you yell at me! I'll leave
stand the sight of you any when I'm when I'm good and
more!! ready! Tough!!
The CROWD in the bleachers taunts the pitcher: "You stink!" "Rubber arm!"
"Ball!" "You throw like my sister!"
CROWD
You stink! Rubber arm! Ball! You 

Transitions you may be familiar with are:

The only time to use a Transition in a spec script is if it's integral to telling the story. For instance, you might use a TIME CUT: to indicate passage of time. More commonly, a DISSOLVE TO: indicates that time has passed. Or, you might need to use MATCH CUT: if you want to illustrate that there is some correlation between something we just saw and something in the new scene. The point is, unless you become quite skilled in screenwriting don't use these things unless absolutely necessary, because the director of the film will probably think of something different.

Most Transitions are already programmed into script writing programs, capitalized and lined up for those rare occasions when you can't resist to use one.

(Remember, the Cut To: will probably be left out in most spec scripts these days. What it indicates is a complete change of location.)

Shots are formatted like Scene Headings, flush left margin, all uppercase. Blank line before and after.

A SHOT tells the reader the focal point within a scene has changed. Here are some examples of shots: ANGLE ON --

We should be very judicious using a SHOT to redirect the reader's focus. Your "directing" runs the risk of interrupting the flow of your storytelling. If what you really want to do is direct films, do yourself a favor and DON'T do it in a script you're trying to sell... wait until it sells and try to negotiate a package deal with you on board as the director. This most often is a possibility after you've already had one of your screenplays filmed.

Once in a while, calling a shot is necessary. You want the reader to see something not obvious in the scene or you want to achieve a particular emotion or build to a climax. This device allows you to achieve this goal.

If you are describing a prison riot, with a prisoner holding a guard at knifepoint, and you want the audience to see a sharpshooter aiming at the prisoner, you might use a shot like this:

Another shot used from time to time is INSERT. INSERT is used solely as a direction - to focus on something integral to the scene, often something that the audience needs to read or what would otherwise be too small to be clearly seen in a full, wide scene.

A well-constructed action paragraph or a single line might achieve the same goal without distracting the reader. Be vigilant of the flow of the story, and try not to interrupt it.

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MOTION PICTURES

MOTION PICTURES TIMELINE

1883 Invention of flexible celluloid film

1891 Edison applies for patent for Kinetoscope peep hole film viewer.

1896 Vitascope projector unveiled-- first public showing of a motion picture to a large, paying audience

1903 Edwin S. Porter makes The Great Train Robbery. Film demonstrates new editing and camera innovations

1905 Birth of early movie houses called nickelodeons

1908 Start of Motion Pictures Patents Company (MPPC)

1915 Charlie Chaplin stars in The Tramp

1919 Independent film producers evade the restrictions of the MPPC by moving to Hollywood

1921 Rudolph Valentino stars in The Sheik

1927 The Jazz Singer, the first "talkie" is released

1928 Walt Disney releases Steamboat Willie, an animated cartoon starring a character that would become Mickey Mouse

1933-1948 The Studio Years. Big Hollywood studios come to dominate the industry

1939 Classic films Stagecoach, The Wizard of Oz and Gone with the Wind are released

1941 Orson Welles produces and stars in Citizen Kane, considered by many to be the best American film ever made

1948 Court decision ends control of industry by big studios. Rise of independent filmmakers

1949 Film attendance drops; industry blames TV

1952 In an attempt to win back audiences, Hollywood introduces 3-D films and wide-screen Cinerama.

1956 Hollywood sees TV as ally. Starts to sell old film to television

1957-1965 Film attendance continues to decline. Hollywood studios start making TV series.

1967 Bonny and Clyde and The Graduate released. Films' anti-heroes appeal to a younger audience

1968 Motion Picture Association of America introduced G-PG-R-X film rating system

1972 The Godfather is released and starts a trend toward Mafia movies that will continue through two sequels and inspires TV's "The Sopranos."

1973 Star Wars, directed by George Lucas, ushers in era of the super-blockbuster

1975 Steven Spielberg directs Jaws, the first of his many successful movies

1980 Hollywood studios main suppliers of TV series

1988 Broadcast TV, cable TV and videocassette revenue eclipse theatrical box office as sources of film revenue

1990-1993 Disney and Universal open studios in Florida

1995 Number of movie screens continues to increase

1997 Titanic becomes biggest money-earning movie of all time

1999 Stars Wars: The Phantom Menace released in digital format

http://highered.mheducation.com/sites/0072407662/student_view0/chapter9/timeline.html

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