PART 1:  RESEARCH PROPOSAL FOR THE SCREENWRITING (MOVIE SCRIPT)

The screenplay Jack is Back creates a tense and horrifying feeling as the audiences wait what will happen to the main characters.  I designed the screenplay Jack is Back based on the need to incorporate a number of literal devices such as vivid description, imagery, symbolism, suspense, and foreshadowing. These elements are critical in the development of the script and also ensuring that audiences remained hooked in the storyline. The introductory part of the dark and barely furnished office helps to capture both the imagination and the thoughts of the audiences.

There are various theories that I used to write my screenplay. They are well featured in film theory books like “Robert Macee Story,” “Syd Field,” and “Writing the short film by Pat Cooper and Ken Dencyker.”  There is an in-depth illustration of the social and physical setting in which the script is developed and occurs (Batty and McAulay, 2016).

This is what is referred to as milieu ad refers to the social environment of the cast. Generally, the script illustrates how I used characters in the theatre to build up the movie, Jack Is Back, through assigning them various roles to play (Chun, Zhang, et al., 2008).

The description of the office gives leaders a hint that everything was not okay. It can be defined as being a way of foreshadowing some of the horrifying events that would take part in later scenes. The use of dialogues further strengthens foreshadowing, for instance, the point where Jack asks Ana “so….my beautiful lady, are you scared?” The quote indicates that there is the use of satire with the objective of ridiculing the woman.

Despite Jack’s reference to Anna as “my beautiful lady” there is the impression that he was going to harm her. While she attempts to speak, Jack puts a cigar in her mouth and proceeds to play an old love song. All these are types of irony and satire that help to expound on the plot. It is apparent that Anna looks scared, and tries to get out of Jack’s hands. I used Jack intentional as I intended to develop traits of an outlaw. Jack can be defined as sycophant who seems to enjoy the suffering of other people. He subjects Anna to mental torture such as dancing with her while he intends to harm her.

There are different directors that have influenced me in structuring the work. As such, they are excellent in the organisation of their entire movies that they direct. Such persons include Orsen Welles, the director of “Citizen Kane.” Orsen Welles inspired me to love the setting of small box-like rooms. He is such an incredibly talented director. Similarly, Hitchcock has also played a significant part in influencing me.

PART 2: ANALYSIS OF SCREENWRITING

Some of the films that came before my screenplay, Jack Is Back, includes “TheGodfather” which was screen played and directed by Mario Puzo and Francis Ford. This movie uses poetry, but it is a gangster in nature. The screenplay was created in a way that makes it appear captivating, which made it win the best original screenplay award. Another one is “The Usual Suspect,” which wasscreen played by Christopher McQuarrie (Horton, 2000). Bryan Singer directed this movie. The characters are amazingly strong, and the plot of the film is held together unbelievably.

This movie is worth everyone’s time because it has become one of the world’s most memorable heist films. More so, Goodfellas, a crime buster movie screen played and directed by Nicholas Pileggi and Martin Scorsese, is also a magical film that depicts the real life of gangsters by combining different scenes and plots that bring about the meaning of the entire film (Field, 2008, p. 11). In the scene where Jack is scratching Anna’s face, there is playing of weird music, thus indicating that he was disconnected with reality. It fits into the mainstream media where there is the tendency to use zombies and sycophants in the development of horror films. It further becomes evident that Michael was controlling Jack. In a dialogue, the producer says “Michel he is not going to stop until he hears you saying Cut.” The description indicates that Jack lacked control and was manipulated by some external forces to commit crimes.

After the act, Jack appears to be unmoved by the events and argues that he was acting. The climax of the script is when Jack starts to scrap Anna’s face. The audiences remain with the question of whether it is part of acting, or if Jack was exhibiting his mental inability. Although Michael notes that he was not aware that Jack was mentally unstable, he appears unapologetic. His action creates suspense on how Jack would behave in other scenes.

Apart from the techniques that I used to write my screenplay, Jack Is Back. I also employed genre conventions. These are the similarities in the form, style, or the matter of subject as it is in the Robert Macee Story. For instance, in Jack Is Back, one cannot know what to expect. In relation to the audience, like in the case of the script Jack Is Back, one can see that the script aimed to show the scene where there is a movie within the movie.

According to Blacker (1986), these elements make the script interesting since viewers and readers come to notice it in the middle of the play. This makes them curious about what will happen next. This is because it is neither an action nor a comedy. This allows the audience to try to figure out what they expect on their own and make the play interesting. Moreover, I used examples of the intuition that included logic, morality, emotions, and willpower.

Further, I used the three-act structure, which I learned from the field. The three-act structure is in itself a wholesome definition to screenwriting (Field, 2008, p. 7). This three-act structure gives the work an exciting outlook and offers some knowledge about the audience which does the work to match their expectations (Decherney, 2005). Therefore, the work is most likely to be received well by the audience.

References

Batty, C. and McAulay, A., 2016. The academic screenplay: Approaching screenwriting as a research practice. Writing in Practice: The Journal of Creative Writing Research, 2, pp.1-13.

Blacker, I.R., 1986. The elements of screenwriting: a guide for film and television writers. New York: Macmillan.

Chun, Z.H.A.N.G., Jing-Ning, W.A.N.G., Ping, C.H.E.N., Ji-ci, W.A.N.G. and Bin, L.U., 2008. The impact of local creative milieu and space on cultural and creative activities in cities: The case of Nanluoguxiang in Beijing. 地理研究, 27(2), pp.439-448.

Decherney, P., 2005. Hollywood and the cultural elite: How the movies became American. Columbia University Press.

Field, S., 2008. The definitive guide to screenwriting. Random House.

Horton, A., 2000. Writing the character-centered screenplay. Univ of California Press.

Koumi, J., 1991. Narrative screenwriting for educational television: A framework. Journal of Educational Media, 17(3), pp.131-148.

Lee, S.J.S., Lomdahl, A.M., Sawtell, L., Sculley, S. and Taylor, S., 2016. Screenwriting and the higher degree by research: writing a screenplay for a creative practice Ph.D. New Writing, 13(1), pp.85-97.

Selbo, J., 2014. Film genre for the screenwriter. Routledge.

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