genres have their own rules.
And the good thing about rules is that on one hand allow a wide scope for action within its boundaries and, on the other hand, they are there to skip it.
Comedy has, almost by definition, a margin of freedom greater than the social drama or film.
narrative Freedom, Freedom of spatial and temporal situations that open to surrealism, distortion or outright insanity.
Anything goes if it is a question of making people laugh. Obviously there
craziest comedies and more "real", but the margin of maneuver that usually offer is quite extensive as that given in other genres.
We bring to this blog today an analysis of a television comedy that has influenced the outlook calls sitcom in the last five years. It
30 Rock is , which in English is translated as " Rockefeller Plaza, and being produced by NBC about the writer Liz Lemon (played by the alma mater of the series, Tina Fey ) working precisely in an entertainment of NBC itself.
TV in television, with a sophisticated humor, bright and very referential, which is now in its fifth season.
In this simple example we can observe how they break the rules of space / time for no other reason than it produces its own history, and will lead to an absurd situation, surreal and impossible but it defines very well the character and, indeed, surprising and fun in those terms.
In the scene we see Liz Lemon, the writer protagonist of the story, along with Jenna Maroney (actress of the show) and a friend. The latter is visiting with her baby, raising Liz's maternal instinct.
See him here:
Indeed, we have changed the space with a simple set of plans and a poster as an accomplice to surprise the viewer.
The first part of the scene is simple and we have the beginning of the story: Jenna and her friend talk to Liz, the mother encourages him to take his son and a round with him.
For the story to work we need to Liz Lemon alone with the baby, so little dialogue and the start of the scene only serves to bring the character to the place where you really develop the story.
found Liz, we know of his bachelorhood, his penchant for sentimental disasters and maternal instinct, in the lobby the building.
This analysis identified this as the number 1.
reference not lose her two friends, the actress and mother of the boy, but let's see what interests us most: Liz, the baby and the poster (which will be essential in the device).
Of the three planes that will be used to count the transition, this (that would be the second) is fundamental.
If the first plane was a plane almost over, here more close the frame, but not lose the reference of these three elements which as I say are essential.
We see Liz Lemon in the same position as in the previous level, absorbed in the small and see how he turns around and suddenly to realize something-we do not yet know what-is surprised and amazed.
And the third level is the one that offers all the answers, while all the inconsistencies, all the absurdity and surrealism of the scene.
We see Liz Lemon at home.
The surprise is capitalized, but based on everything that we have not realized when the change occurred.
Indeed, the sudden change (which occurs between the conceptual level 2 and 3) actually occurs, formally, between level 1 and 2.
is not difficult to see the scene frame by frame, verify that in fact the change of scenario occurs there, ie at the No. 2 Liz Lemon is already in your home.
Although his astonishment (which also gives more importance, the comedy is) no public statements to that plane.
Highlight finally although we have discussed previously, the importance of visual cues provided by the poster, because apart from the protagonist and the small, serves as a vital link connecting the various spaces.
As there is no other, Liz Lemon will leave your house to go to his workplace to return the child to his mother.
Yes, to both absurd, it is best to put some sanity history.
Although there will be so easy ...
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