Aristotle on Screenwriting.

In a satisfying natural coincidence of two interests of this blog, Aristotle (notable in philosophy) wrote a book (Poetics) unpacking how serious drama was done in his time.  English script-development guru Stephen Cleary gave three talks at the Victorian College of the Arts in Melbourne Australia.  (It's Victorian only in being in a State called Victoria.  It's nature is a sort of strident Bloomsbury for 18-20 year olds.)

This blog post introduces them, and you can download them from there.

Plato wanted to ban fiction because it wasn't true, and he thought, couldn't contribute civic value.  Aristotle's defence of fiction (not that they had the concept fiction, but poetry and drama were understood to be in a different category from every events and rules for living) - I will begin again.  Aristotle's defence of fiction (according to SC) understood it from the inside out.  He looks at each of the elements and how it interfaces with the others, and what the overall effectiveness hinges on.

What I took from SC's explanation was that in a story, we understand people in ourselves - we read their situation intellectually and emotionally (and even physically - I sometimes notice I've got breathing anxiety when I see someone in a film underwater).  The complex drama (e.g. greek tragedy), though, keeps the protagonists off balance, constantly challenged or threatened by events, to which they respond with emotionally motivated actions that are not quite right, don't resolve the tension. The tension is escalating throughout the film until, at last, there is a realisation.

The realisation needs to happen in a specific series of moments, the hero being knocked off balance one last time and then receiving information that throws the mind back to the start of the story, that changes the meaning of everything, that makes them realise for the first time what has really been happening. The audience, feeling along with them, should be moved - in tragedy they should feel pity, and terror.  This moment is the moment of catharsis, a moment of powerful intellectual, emotional and physical reprocessing that lays hold of one as you realise that you are subject to some powerful truth, just as the tragic hero is: Macbeth learns that murder is wrong.  In a different type of film, Field of Dreams, Kevin Costner (and we) remember how we love our fathers, and they love us.

Please listen to the whole thing.  It's very good if you are interested in philosophy, film, or even just an interesting bit of psychological / cognitive processing.