Narrative structures
Jan. 21st, 2011 10:20 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
There's a film you may have seen called Prince of Egypt. It's Dreamworks animation's retelling of the Biblical story of Moses and the Israelites getting out of Egypt and if you haven't seen it you ought to, because it's an object lesson in constructing a narrative.
I don't mean that in a good way.
In some ways, it isn't a bad film. It's got some good villains in a pair of serpent-worshipping priests and a few good songs, I suppose. However, where it falls down is in structure and pace. For example, take the scene in which Pharoah relents and lets the Israelites leave Egypt. The Isrealites respond to this bit of good news by slapping on their best pearly-white Hollywood smiles and singing a cheery and upbeat number about how you can achieve any miracle so long as you 'just believe'. I'm sure those are admirable sentiments, but this scene comes immediately after the slaughter of the firstborn by the Angel of Death which just led to me gleefully cackling as I pictured the children of Israel high-stepping through the streets of Luxor, singing happily as they wove their way past the piles of corpses.
I'll tell you what, if I could achieve that sort of miracle by 'just believing', I'd've sorted out any overpopulation problems we may have a long time ago.
What this really illustrates is the difficulty of constructing a narrative which ticks all the boxes, and how just throwing money at a project is no guarantee of success (I'm looking at you, George Lucas). As I've recently been yapping at
flywingedmonkey about collaborating with him on a writing project I've been thinking more than usual about how stories and narratives which hang together in a satisfying way are constructed, and what I keep coming back to is the way conflict is the thing which drives stories forward.
There is the idea that there are only eight stories (Boy meets girl, A stranger comes to town, a man goes on a journey (the last two being the same story in reverse) and so on*) is a common one, as is the Joseph Campbell Hero with a thousand faces idea of pan-human or meta -myths. However, the more I look at stories, I find the best examples of hw to put togther short, consistent, conflict-led narratives come from good sitcoms.
The best sitcoms tend to have two consistent features: they revolve around people who can't stand each other, and they're in situations where they can't get away from each other. So we have Father Ted, The Young Ones, The Odd Couple, and Dad's Army for starters. It's why 'closed environment' narratives are so popular and why they work so well; claustrophobia is a powerful tool in driving either drama or comedy (which are the different sides of the same coin and sometimes even cross over, like when Darth Vader staggers to his feet at the end of Revenge of the Sith and bellows "Noooooooooooooooooo!" to the hilarity of the entire cinema).
I think this is why the new BBC sitcom Episodes (a joke-free comedy about a trials and tribulations of a pair of BBC comedy writers trying to transfer their hit British show to the U.S.) doesn't work - it's because the characters like each other and aren't trapped in their environment. Their circumstances may nominally suck (in the sense that being wined and dined by Hollywood sucks), but they could just leave and get on with their lives at any time. There's no oppressive sense that they're stuck in the situation and can't get away. There's no driver of conflict: and without inescapable conflict, the drama - and the comedy - simply don't follow.
Which leads to me thinking about closed environments which I could use. The problem is that so many have been used: The military (Dad's Army, The Navy Lark, MASH, etc), Family household (every early evening BBC sitcom ever), hospitals (Green Wing, Only when I laugh), Housemates (The Young Ones), Outer Space (Red Dwarf)...So many used ideas. What's new?
*If there are only eight stories, I defy anyone to read some Junichiro Tanazaki and tell me where some of his tales fit. The story of the Samurai who regains his honour by hiding in a lady's toilet, for example. Which of the eight great stories is that one, precisely?
I don't mean that in a good way.
In some ways, it isn't a bad film. It's got some good villains in a pair of serpent-worshipping priests and a few good songs, I suppose. However, where it falls down is in structure and pace. For example, take the scene in which Pharoah relents and lets the Israelites leave Egypt. The Isrealites respond to this bit of good news by slapping on their best pearly-white Hollywood smiles and singing a cheery and upbeat number about how you can achieve any miracle so long as you 'just believe'. I'm sure those are admirable sentiments, but this scene comes immediately after the slaughter of the firstborn by the Angel of Death which just led to me gleefully cackling as I pictured the children of Israel high-stepping through the streets of Luxor, singing happily as they wove their way past the piles of corpses.
I'll tell you what, if I could achieve that sort of miracle by 'just believing', I'd've sorted out any overpopulation problems we may have a long time ago.
What this really illustrates is the difficulty of constructing a narrative which ticks all the boxes, and how just throwing money at a project is no guarantee of success (I'm looking at you, George Lucas). As I've recently been yapping at
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There is the idea that there are only eight stories (Boy meets girl, A stranger comes to town, a man goes on a journey (the last two being the same story in reverse) and so on*) is a common one, as is the Joseph Campbell Hero with a thousand faces idea of pan-human or meta -myths. However, the more I look at stories, I find the best examples of hw to put togther short, consistent, conflict-led narratives come from good sitcoms.
The best sitcoms tend to have two consistent features: they revolve around people who can't stand each other, and they're in situations where they can't get away from each other. So we have Father Ted, The Young Ones, The Odd Couple, and Dad's Army for starters. It's why 'closed environment' narratives are so popular and why they work so well; claustrophobia is a powerful tool in driving either drama or comedy (which are the different sides of the same coin and sometimes even cross over, like when Darth Vader staggers to his feet at the end of Revenge of the Sith and bellows "Noooooooooooooooooo!" to the hilarity of the entire cinema).
I think this is why the new BBC sitcom Episodes (a joke-free comedy about a trials and tribulations of a pair of BBC comedy writers trying to transfer their hit British show to the U.S.) doesn't work - it's because the characters like each other and aren't trapped in their environment. Their circumstances may nominally suck (in the sense that being wined and dined by Hollywood sucks), but they could just leave and get on with their lives at any time. There's no oppressive sense that they're stuck in the situation and can't get away. There's no driver of conflict: and without inescapable conflict, the drama - and the comedy - simply don't follow.
Which leads to me thinking about closed environments which I could use. The problem is that so many have been used: The military (Dad's Army, The Navy Lark, MASH, etc), Family household (every early evening BBC sitcom ever), hospitals (Green Wing, Only when I laugh), Housemates (The Young Ones), Outer Space (Red Dwarf)...So many used ideas. What's new?
*If there are only eight stories, I defy anyone to read some Junichiro Tanazaki and tell me where some of his tales fit. The story of the Samurai who regains his honour by hiding in a lady's toilet, for example. Which of the eight great stories is that one, precisely?
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Date: 2011-01-21 10:53 am (UTC)no subject
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Date: 2011-01-21 11:00 am (UTC)no subject
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Date: 2011-01-21 10:56 am (UTC)no subject
Date: 2011-01-21 10:59 am (UTC)no subject
Date: 2011-01-21 11:00 am (UTC)Separated at Birth!
Date: 2011-01-21 11:09 am (UTC)It's uncanny, I tell you. Uncanny.
Re: Separated at Birth!
Date: 2011-01-21 11:12 am (UTC)Re: Separated at Birth!
Date: 2011-01-21 11:14 am (UTC)Re: Separated at Birth!
Date: 2011-01-21 11:16 am (UTC)Re: Separated at Birth!
Date: 2011-01-21 11:20 am (UTC)no subject
Date: 2011-01-21 11:06 am (UTC)Educational and training establishments don't quite seem to have been done to death as sitcoms. Schools, universities, police training college, etc.
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Date: 2011-01-21 11:15 am (UTC)Was I the only person to sit in rigid, stony silence all the way through The Office?
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Date: 2011-01-21 11:37 am (UTC)I didnt find the office funny at all
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Date: 2011-01-21 11:38 am (UTC)no subject
Date: 2011-01-21 12:33 pm (UTC)no subject
Date: 2011-01-21 02:35 pm (UTC)no subject
Date: 2011-01-21 12:53 pm (UTC)That said I was watching Yes Minister the other day and it struck me that the politics of recent years are a re-run of that sit com.
It's also funny, and I think that's because someone is trapped. Hacker's trapped - he wants to be an MP so he gets trapped in a situation. Sure he can walk away - but he feels duty bound to remain and do his job; in spite of Humphrey. Dad's Army has a similar entrapment, in theory they can walk away but they are duty bound to stick it out. And there are glimmers of light where they succeed in their wishes which keeps them there. The New Statesman is another politics one - the person trapped is Piers although B'stard is also trapped because of his desires.
I think the entrapment doesn't have to be as obviously physical as it is ion Porrige or red Dwarf. But there has to be a firm reason for the entrapment to be there - the Office is the kind of situation where if I had a boss like that I'd walk out - I'd feel no obligation to be put through hell on a daily basis.
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Date: 2011-01-21 09:20 pm (UTC)no subject
Date: 2011-01-21 11:53 am (UTC)no subject
Date: 2011-01-21 12:43 pm (UTC)That said, I find it hilarious that one of the astronauts on the ISS is a creationist. That's comedy fodder right there. Why does his head not explode?
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Date: 2011-01-21 01:13 pm (UTC)no subject
Date: 2011-01-21 01:52 pm (UTC)no subject
Date: 2011-01-21 02:49 pm (UTC)no subject
Date: 2011-01-21 03:01 pm (UTC)no subject
Date: 2011-01-21 03:08 pm (UTC)no subject
Date: 2011-01-21 03:19 pm (UTC)no subject
Date: 2011-01-21 03:26 pm (UTC)It really is a fantastically self-referential piece of work. I admire it as a meme.
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Date: 2011-01-21 03:34 pm (UTC)no subject
Date: 2011-01-22 03:13 pm (UTC)no subject
Date: 2011-01-21 03:36 pm (UTC)What I don't see is that someone who's quite bright in his field (he wouldn't be on the ISS otherwise) can't see the validity of other sectors of science that clearly prove that creationism (and especially their age of the Earth) is bollocks.
It would be interesting to see how he interprets the biology experiments that show how organisms adapt to their environment, which is part of the principles of evolution.
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Date: 2011-01-21 05:09 pm (UTC)no subject
Date: 2011-01-21 09:22 pm (UTC)no subject
Date: 2011-01-21 11:55 am (UTC)The only thing left to do are either things that are so utterly boring no-one would watch it (the excitement of the trainspotters union) or would not pass censor before print (The life and times of the KKK)
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Date: 2011-01-21 02:50 pm (UTC)no subject
Date: 2011-01-21 03:16 pm (UTC)Guess it's the fun and frolics of the KKK then!
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Date: 2011-01-21 11:56 am (UTC)(Of course, now that I've said that, the idea of a bunch random people being assigned to a doctor-who style pest control service by Job Centre Plus seems like an ideal opportunity to contrast mundance irritations and tea-breaks with ghostbusters style work)
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Date: 2011-01-21 12:36 pm (UTC)That could work quite well. :D
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Date: 2011-01-21 12:38 pm (UTC)no subject
Date: 2011-01-21 12:49 pm (UTC)And there's always Mak Attax. ;o)
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Date: 2011-01-21 09:23 pm (UTC)no subject
Date: 2011-01-21 12:59 pm (UTC)The story of the Samurai who regains his honour by hiding in a lady's toilet, for example. Which of the eight great stories is that one, precisely?
The Road to Redemption
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Date: 2011-01-21 03:21 pm (UTC)The 'base under siege' scenario is of course also the setting of a large proportion of the most popular episodes of the original Dr Who. Wonder if any of those could be retooled as comedy material? How about the three lighthouse keepers in Horror of Fang Rock, for example?
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Date: 2011-01-21 11:55 pm (UTC)I expect royalties.
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Date: 2011-01-31 04:57 pm (UTC)I’ve been thinking of alternatives and you’re right: It has almost all been done! Besides the ones you mention I though actors on a TV program - has been done (30 Rock), regulars at a bar - has been done (Cheers), Old people trapped in a nursing home – yup, has been done (I have forgotten the name of it). Gah!
Thoughts:
We could do a (comedy) survivors of an apocalypse? Has that been done? Zombieland did it for the Zompocalypse I suppose.
We could attempt do an alternative workplace to hospital or regular office (a garage maybe? A funeral home)
Some sort of sports team? Or martial arts dojo? There’s some comedy in that. (Have you seen the foot-fist way?)
Gypsies are very in- we could do that. Of course we’d both be killed but still…
JmC
Whatcha think?
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Date: 2011-02-02 02:06 pm (UTC)Alternatively, there's always this: http://davywavy.livejournal.com/274313.html