Feature film is most limited in 90 mins in Chinese-language films to 120 mins in Hollywood films in term of length and duration, and there are popularly summarizing in several film structures like 3 act , 4 act, 5 act structure, John Truby’s story anatomy, Blake Synder’s Beat Sheet, Christopher Vogler’s Hero Journey, Paul’s Sequence Approach, etc. the well-established film structure is well tested and practiced in film industry in term of box office, film comments and general audience’ likeness and taste. It is so popular as it does suit the tastes and viewing habit of general audience. However, it will also limit the unlimited possibility of film structure and storytelling in another angle and how we perceive the film story concept. Therefore, this original and innovative paper would explore the interactive relationship and poetics between the length, duration and film storytelling and structure in a metaphysical and aesthetical form. If we can challenge or revisit the traditional film structure form, it may enlighten and explore the possibility of film art and our perception of film story. it may not just be about “problem and resolution” pattern. Everything can be possible like the bricks in Lego as film art is still very young in art historical aspect. Therefore, the paper challenges our traditional sense of frame to frame becoming shot, shot to shot becoming scene, scene to scene becoming sequence, sequence to sequence becoming act, and finally, act to act becoming film concept. It also challenges our long established understanding of how we view the film in 90 to 120 mins duration. In the end, the paper would propose a new paradigm or model of film structure.
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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