1. What if I woke up blind
2. What if I was abducted by aliens
3. What if I was a double agent
4. What if a famous singer fell in love with a fan
5. What if 4 friends got separated and had to work they way back to each other

screenplay – a script which includes scene directions and acting instructions

the difference between a script and a screenplay is that a script features character dialogue and stage directions whereas a screenplay features other production details that happen off camera.

Example of a film with excellent screenplay:

Jordan Peele’s 2017 film Get Out and Bong Joon-Ho’s 2019 film Parasite are prime examples of the subgenre social thrillers. These two films have moulded the subgenre due to their different cultural approaches. Parasite follows the Kim family who are struggling through poverty and find a way to all work in the same household for a wealthy South-Korean family, the film shows the power that money has on Korean society and the lengths the poor are willing to go to get it. Peele’s Get Out on the other hand follows Chris, an African American man, who goes with his White girlfriend to visit her parents for the weekend. After arriving Chris slowly realises that his girlfriend’s parents are abducting African Americans and brainwashing them. The film focuses on racial alienation and shows the racially motivated anxiety Black people are faced with. Peele’s film was one of the first films to be named a sociological thriller (social thriller) and brought mass attention to the subgenre. I choose these two films as they both present large societal issues for each of their cultures for example, poverty in South Korea and racism in North America.

Films:

-Get Out (Jordan Peele, 2017)

-Parasite (Bong Joon-ho, 2019)

Film Focus:

-genre: social thrillers

-difference in portrayal of social commentary in eastern vs western cinema

Left Bank:

-less radical

-impatient with the conformity of the right bank

-directors tended to be older and appreciate cinema more as an art

-experimental

-Key Names: Varda, Marker and Resnais

Right Bank:

-more recognition

-financially stable

-often associated with Cahiers du cinéma

-Key Names: Godard, Truffaut, Chabrol

-filming the back of actors heads

-absurdist dialogue

-jump cuts

-actors addressing the audience directly (“breaking the 4th wall”)

-favoured the use of improvisation

-use of non-actors

-handheld cameras

-shot on location

source: https://www.masterclass.com/articles/french-new-wave-guide#what-is-french-new-wave

Breathless (Jean-Luc Godard, 1960)

Hiroshima, Mon Amour (Alan Resnais, 1959)

Paris Belongs to Us (Jacques Rivette, 1961)

-Auteur theory was a continuation of André Bazin and Alexandre Astruc cinematic theories by American film critic, Andrew Sarris

-Auteur theory was largely based off of Astruc’s concept of ‘caméra-stylo’ or camera-pen which described how the director who oversaw all of the audio and visuals of the film should be considered the ‘authour’

-Supporters of the auteur theory thought that successful films would have the unique mark of the director

Auteurs cited by Cahiers du cinéma:

Jean Renoir

Roberto Rossellini

Alfred Hitchcock

Link: https://web.microsoftstream.com/video/7c12f033-ea85-4093-aa61-8863ace47cbd

Touch of Evil (1958)

Double Indemnity (1944)

Blast of Silence (1961)