Scriptwriting
Act 1: A Film Writer’s Perspective through Anthropological Documentation
Act I
You wouldn't understand this, the times when my mom— with her floral tops, denim bell buttons and lovely ruby red lipstick—would take me by the hand at the age of eight to the movie theater I dreaded it. My hair was in braids with hair pins at the end, and I wore a skirt with bright pink tights beneath it. My high school musical shirt was the boldest statement in the early 2010s. Then, there we were, in the back row. “The best seat in the theater, in the back you can see the full picture,” my mom would marvel, and I, being the stubborn and easily irritable eight year old I was, would nod.
The truth is, I didn’t like movies, but my mother was the movie buff out of the two of us. Collections of her favorite films were piled up on one another within the cabinet above our tv. It looked as if it would burst out and crumble down on the television one day, but to my surprise it never happened. My mother’s siblings always felt my mom had some sort of addiction, adding she might as well just be an actress or in theater. Time after time my mom would sit on the living room couch and look at me. This was her silent request to watch another movie (usually martial arts, or an action film) with me. My mom loves action films. She had her favorite actors, and she would study them without realizing it, gushing to me about her favorite scenes. As I look back I can tell she liked the explosions, the elements of witty banter in some scenes, the heroism of the main character. She was an Indiana Jones type of gal, or Bruce lee, Jackie Chan type. She enjoyed the thrill of the chase. The main character's heroism must be something she craved in life, but I was never sure. Even within my days of watching a plethora of films with my mom, I can see why my mom loved the movies. It was a shared experience that had a lasting impact. It revealed to her her wants and desires, like it does to many of us.
Collectively as a nation the love of films or the spectatorship of it is an experience that as a society, we will never grow tired of. It’s the power a film holds within its’ ideas and concepts. Within each movie it has the authority over the viewer to endorse religious, political, or cultural notions. The history of film having this power came from political tensions that arose during the 1900s. According to a journal article, American writer and scriptwriter Leo C. Rosten writes, “The motion-picture screen is an instrument of entertainment, education and information. Having been pioneered and developed in our country, it is peculiarly American. The motion picture industry has always permitted freedom of expression. The impression has now arisen, and very naturally, one of hoped- for results of the pressure of investigation will be to influence the industry to alter its policies so that they may accord more directly with the views of its critics. The industry is prepared to resist such pressure.” Films have a psychological effect, it programs its’ spectators in the act of influencing or swaying public opinion. Journalist and filmmaker Zeyad Masroor Khan writes about this phenomenon with a psychologist, stating, “[The] human mind has a way of simplifying complex ideas into not-so-complex compartments. This is where black-and-white thinking comes in,” Devika Kapoor, a Mumbai-based counseling psychologist told VICE. “We want to fit ideas into boxes. It’s easier to pin the blame on somebody else and to believe that there exists “pure good” and “pure evil,” because it [reduces] cognitive load on our mind. Propaganda takes into account these tendencies.” This brings me back to my mom’s fascination with movies. The reason for my own growing fascination with film is: movies are simply a mirror of us, and a reflection of society during the time of its making.
Act II
Diamond Smith, a budding filmmaker with a passion for storytelling, sits eagerly in a film studies class. She scribbles notes frantically as the PROFESSOR lectures about the power of visual anthropology and ethnographic filmmaking. She begins to think about what they’re learning in the means of feminism.
DIAMOND (V.O.):
There is a feminism theory that is called care ethics, and it emphasizes the importance of relationships, interdependence, and empathy in moral decision-making. I tend to see men as the main characters in films, and if women are the main character they are usually attached to a male. According to Variety, “A new survey of the top 100 grossing domestic releases found that women only accounted for 33% of movie protagonists last year. That represented an infinitesimal two percentage point increase from 2021, according to the report by the Center for the Study of Women in Television and Film at San Diego State University. And don’t expect actresses to get as many lines as their male counterparts. Females accounted for 37% of all speaking characters in 2022, up 3 percentage points from 34% in 2021. Men had 63% of speaking roles.”
INT. FILMMAKER'S LECTURE HALL - DAY
Across town, Professor Kevin Taylor stands confidently in front of a packed lecture hall. His students hang on his every word as he passionately discusses the works of Jean Rouch, Chris Marker, and Maya Deren. He explains within each director he mentions, they have a great job bringing contemporary history together through the characters, and within the context of the story.
PROFESSOR TAYLOR:
Film is a journey into the human experience, a tool to bridge cultures and unveil truths, we will now study the films of American cinema that gets pushed out to the general audience. Films that tend to lack diversity. This could be intersectional and cultural. For example, the only two primal women in a film only speak of men in their on screen time together. What is that teaching the viewer?
INT. COFFEE SHOP - DAY
Diamond sits across from her friend, laptop open, discussing her latest project
FRIEND:
Have you turned in your submission for Film festival night? Professor Taylor has been talking about the deadline for a few days now. It’s wining down isn’t it?
Diamond nods as she hastily typed away. Her friend grins and watches her. Then her friend sees the pile of opened, rough edged notebooks beside her. Diamond’s friend chuckles and shakes her head
FRIEND:
I take it you’re still working on it. What’s the topic and why so many notes?
DIAMOND:
Sorry. I’m so caught up in the script.
Diamond looks up in apprehension and pauses. She looks at her friend
DIAMOND:
I want to tell stories that matter. Ones that shed light on the voices often silenced. I want to challenge the traditional notion of autonomy that disrupts the many bioethical frameworks in films. Gender norms and power dynamics have a big influence on the general audience’s ability to make autonomous decisions (subconsciously) especially watching women in films being seen as secondary characters. I guess I’m putting together a film that has that impact.
INT. AWARD-WINNING FILMMAKER'S OFFICE - DAY
Professor Taylor flips through a stack of scholarly articles, his mind buzzing with ideas for his next documentary or some new films for his class. Then stops and exhales, quietly rehearsing what he will say to his students for that night
PROFESSOR TAYLOR:
Remember class, every frame tells a story, every cut a revelation. It is up to you all to find what you’re going to portray.
INT. FILM FESTIVAL - NIGHT
Diamond pores over her script, crafting dialogue that captures the essence of her characters and their struggles
DIAMOND:
Every word, every scene, has to resonate with truth. Understanding cultural beliefs, practices, and social structures will shape the perceptions of gender, health, and illness. I believe care ethics through the daily experience of women globally will expose the bioethical dilemmas across different cultural contexts.
Diamond nervously grips her program as she waits for her short film, "The Abandoned," to screen
DIAMOND:
This is it... My chance to make an impact
The movie plays
Professor Taylor stands proudly at the premiere of his students' films played back to back. He grins as he sees surrounding fellow filmmakers and enthusiasts clap in anticipation of the next film
INT. FILM CLASS - NEXT DAY
Professor Taylor meticulously edits his footage, each cut deliberate, each frame a masterpiece in the making as his students watched and learned the art
PROFESSOR TAYLOR:
It's in the details where the magic lies, where the story truly comes to life.
Diamond listens intently as her professor discusses the history of American cinema and the evolution of storytelling and how editing comes into focus
Professor Taylor students hang on his every word as he shares his experiences shooting films across the globe
PROFESSOR TAYLOR:
Film is a reflection of society, a mirror held up to our fears and dreams. It is a philosophical work of art and we are all philosophers in this industry. We are liken to historians, constantly focused on what’s occurring around us.
PROFESSOR TAYLOR:
Film has the power to transcend borders, to connect us all in our humanity. As filmmakers we have to address the issues that occur in this world. And that is exactly what you all did during the film fest. Give yourselves a round of applause.
They all clapped and smiled
Diamond closed her notebook with an exhale of relief and joined in.
Act III
Sophia Coppola's filmmaking style resonates deeply with me, as she possesses a unique ability to capture the essence of her characters and their emotional landscapes with subtlety and grace. Her films, such as "Lost in Translation" and "The Virgin Suicides," explore the complexities of human relationships and the quiet moments that shape our lives. What draws me to her work is not just her technical skill, but her empathetic portrayal of female characters navigating their worlds with strength and vulnerability. Inspired by Coppola's approach, I aspire to create films that delve into the lives of marginalized women, shining a light on their stories and experiences that have often been overlooked or silenced. Through the lens of anthropology and women's studies, I aim to weave together narratives that not only entertain but also provoke thought and empathy, inviting audiences to see the world through a new perspective and connect with the universal truths of the human experience.
In the realm of international feminism, my passion for marginalized women intertwines seamlessly with my studies in history and film. I see film as a powerful medium through which to explore and amplify the voices of women who have been historically overlooked. Drawing from my background in film studies, I aim to craft narratives that not only entertain but also educate and inspire. By delving into the rich tapestry of women's experiences across different cultures and time periods, I seek to unearth stories that have been buried beneath the weight of patriarchal norms and societal expectations. Through meticulous research and a keen understanding of anthropology, I hope to bring these stories to life on the screen. It begins with history, weaving together threads of personal triumph. My commitment to international feminism drives me to use film as a tool for social change, shedding light on the struggles and empowerment of women around the world.