By C. Batty
From a screenwriting perspective,Batty explores the concept the protagonist's trip is produced from person but interwoven threads: the actual trip and the emotional trip. His research includesdetailed case reports of the flicks Muriel's marriage ceremony, Little Voice, automobiles, Forgetting Sarah Marshall, Sunshine cleansing and Up.
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Additional info for Movies That Move Us: Screenwriting and the Power of the Protagonist's Journey
Exploring the Duality of a Screenplay Narrative 31 Robert McKee argues that the screenwriter cannot view character and structure as separate entities because ‘structure is character. Character is structure’ (1999: 100). Although he does not make a specific point of defining the two elements, his observations are useful. : 101). : 104–5). The point being made here is that the core of a successful screenplay is to create a story which progressively follows a character’s journey through action and emotion, which by the resolution demonstrates a fundamental change in that character’s inner being.
77). ), again suggesting that a character grows internally as he or she actively takes part in an external plot. It could then be suggested that plot development also allows a character to grow: because the character’s involvement with plot affects how he or she reacts emotionally, character and plot are part of a symbiotic relationship, each giving to and taking from the other with the intention of shaping action and shaping emotion. : 62). This suggests a definite movement or growth of character within a dramatic narrative, where knowing a character internally (psychology) and how he or she is likely to react to external conflict allows the writer to carefully map the growth that character will undergo.
On the other hand, the necessity for emotional development is highlighted by Seger’s assertion that having undertaken a journey to achieve the goal, the character changes: ‘The strongest characters will achieve some extra dimension by this journey. ). Although discussion of this transformation is limited, it is evidently an integral component to the narrative. : 157), suggesting that it is actually due to emotional transformation that the physical goal is able to be achieved. Subsequently, there is a sense that emotional transformation complements the physical journey, the two being inextricably linked to the 26 Movies That Move Us narrative as a whole.