I.
Classification
G is an advisory classification
The content is very mild in impact films are for general
viewing. While many G films are for children, not all will be
of interest to them.
PG is an advisory classification
The content is mild in impact. PG films contain material
that a parent or career might need to explain to younger
children.
M is an advisory classification
The content is moderate in impact. M films are not
recommended for people aged under15 as a level of
maturity is required.
MA 15+ is a legally restricted classification
The content is strong in impact. MA 15+ films are not
suitable for people aged under 15. A person aged under 15
cannot be admitted to an MA 15+ film unless accompanied
by his or her parent or an adult guardian. The requirements
are not met if the parent or adult guardian buys a ticket,
but does not accompany the child in the cinema for the
duration of the film.
R 18+ is a legally restricted classification
The content is high in impact. R 18+ films are not suitable
for people aged under 18. People aged under 18 cannot be
admitted to an R 18+ film.
II. Present movie development
In the film industry, movie development or simply
development refers to the initial stages of working a story
idea into a viable script. A producer zeros in on an idea for
a script that can be original, based on a true story, or an
adaptation. Producers are also routinely given unproduced
spec scripts by associates and agents. Once a producer
commits to a project, movie development begins and
people are brought on board to help with this phase of the
project.
If working with an original idea, the story is often fleshed
out through a series of meetings and phone calls with
writers or associates who will be involved in the project. A
synopsis is written, then an outline, treatment, and script.
If starting with a spec script, the usual path is one of
rewrites and reworking the script idea. In all cases,
producers like to get a director and talent attached to a
project as soon as possible in order to attract financial
backers and a studio. Further rewrites are made to
accommodate the wishes or particular style(s) of attached
talent.
The amount of time a project stays in the development
stage depends on many factors, but a period of months is
usually minimal. The process of movie development is a
collaborative one that is commonly fraught with opposing
creative ideas, conflicting egos and a high potential for
tension and stress that can slow down or even derail
progress. Hollywood politics might also dictate whether or
not a project survives development. Plans that get stuck
for years in this phase are said to be in development hell.
Assuming a project makes it through the movie
development phase, the screenplay is pitched to a studio
executive and to additional executive producers that will be
providing financial backing. Once a studio greenlights the
project, (which might require more rewrites), it moves into
the pre-production phase. In this phase all arrangements
are made that must take place prior to actual shooting. For
example, the movie is fully cast, the crew is hired, and sets
are built and/or locations are chosen and contractually
secured. Production, or the actual shoot comes next,
followed by post-production or final editing and the
screening phase. Finally the movie is premiered and
released. Movie development is the first step in a long road
to movie production. Hollywood has many more projects in
development than will ever be made. Even a project that
successfully completes the development phase has no
guarantee of seeing the big screen. Any number of
circumstances can arise in the interim that will spell
disaster or cancellation of a project.
III. Elements of Cinema
The Three-Act Structure
The 3-act structure is an old principle widely adhered to
in storytelling today. It can be found in plays, poetry,
novels, comic books, short stories, video games, and the
movies. It was present in the novels of Conan Doyle, the
plays of Shakespeare, the fables of Aesop, the poetry of
Aristotle, and the films of Hitchcock. Its older than Greek
dramaturgy. Hollywood and Broadway use it well. Its
irrefutable and bullet-proof, so to speak.
Though quite simple, the 3-act structure has proven to be a
valuable weapon in the arsenal of any screenwriter. Yes,
there are alternatives to telling a story. But the 3-act
structure is a highly accepted and greatly successful
method.
In a nutshell, the 3 acts are labeled as:
Act I: The Setup
The first act is where all the major characters of the story
are introduced, plus the world where they live in, and the
conflict that will move the story forward. In Act I, the writer
has the freedom to create any setting and reality that he
so wishes. Its in the first pages of the script that he
defines the reasoning and logic of the story. This early in
the script, anything is possible. The story may happen in
the distant future or long time ago in a galaxy far far away.
It may take place in downtown New York or in an African
jungle. The first act also establishes genre. It may be a
drama about a widow that struggles to re-encounter love,
or a suspense about a young trainee summoned out of the
FBI academy in a special assignment to interview a
dangerous psychopath.
Ideally, your main character can never be lucky further
down in the script. But while the story is introduced, this
gimmick is acceptable if done right. Act I must also present
a strong hook an exciting scene early in the script that
grabs the audiences interest and hooks them. Part of that
hook is the inciting incident that takes place somewhere in
the beginning of Act I. This inciting incident often provokes
a change in the protagonists routine something new they
experience that could either challenge or encourage them.
Act II: Confrontation
The second act is by far the longest, encompassing half of
the movie and taking place between the first and third
acts. For some screenwriters, Act II is the hardest one to
squeeze out. This happens because after the initial boost of
a new story, the writer is left without plot elements to
introduce. The story, its characters and conflict are all
established. At this point, the writer has created a solid
frame for his narrative. Yet hes still roughly sixty pages
away from the ending.
With so many blank pages remaining, the writer faces the
challenge of keeping the story moving forward and not
boring the audience. One device to accomplish this feat is
the creation of subplot. The subplot is a minor story
layered under the main narrative. It often adds a threedimensionality aspect to the characters by allowing them
to engage in a behavior that is not necessarily connected
to the main plot, but still relevant in the overall narrative
and often linked to a central theme.
In The Lion King (1994), after Mufasa dies, Simba runs
away. Timon and Pumbaa save him from the desert, and
Simba has to live in the Jungle.
In the second act, the stakes escalate. If the hero is on the
fence or confused about what he should do, then
something must happen by the midpoint of the script to
make his goal clear. A pivotal element of this escalation
inherent to Act II is Plot Point II, which catapults the story
into the third and final act. Much like Plot Point I, Plot Point
II also affects the main character by changing the direction
hes headed. The difference is that the stakes are much
higher. This is often a moment of crisis, in which all hope
seems lost.
Act III: Resolution
The last act, Act III presents the final confrontation of the
movie, followed by the denouement. This act is usually
the shortest in length because quickly after the second
turning point of the script, the main character is face to
face with the villain or just about. Showdown ensues and
then conclusion. The spectators are smart, so dont
underestimate them. Whenever the writer establishes a
prince, a princess, and a dragon, the audience will urge for
a confrontation in which the prince slays the dragon to
rescue the princess (like in Sleeping Beauty). You can
always tweak the formula (like in Enchanted), but if the
dragon is not dead by the end of the film, your audience
will walk out dissatisfied, even if they cant pinpoint the
reason. The third act is also when the writer ties up any
loose ends and offers a resolution to the subplots.
IV. Philippine Cinema
The youngest of the Philippine arts, film has evolved to
become the most popular of all the art forms. Introduced
only in 1897, films have ranged from silent movies to
talkies; black and white to color. Outpacing its
predecessors by gaining public acceptance, from one end
of the country to the other, its viewers come from all walks
of life. Nationwide, there are more than 1000 movie
theaters. Early in the 1980s, it was estimated in Metro
Manila alone, there were around 2.5 million moviegoers. As
an art form, it reflects the culture and the beliefs of the
people it caters to and most times, is the one who shapes
their consciousness. Philippinos started making movies in
1919. However, the film industry in the Philippines was
initiated by foreign entrepreneurs. Two Swiss businessmen
introduced film shows in Manila as early as 1897, regaling
audiences with documentary film clips showing recent
events and natural calamities in Europe. At this time, the
Philippines were waging a revolutionary war against the
colonial rule of Spain. In 1912, two more foreign
businessmen, this time Americans, created a sensation in
Manila when they put on film the story of Jose P. Rizal's
execution. Here was material close to Philippinos, subject
matter guaranteeing ticket sales. During the thirties the
most noteworthy films use historical themes like "Patria
Amore" (1929) by Julian Manansala. The film became
almost banned due to its agressive anti Spanish nature. He
used history for appealing narratives for such works as
"Dimasalang" (1930) and "Tawag ng Bayan" (1940). He
was often dubbed as the "Father of the Nationalistic
Film".In 1945...the film industry was already staggering to
its feet. A Philippine version of the war movie emerged as a
genre in which narratives of horror and heroism, most of
these movies attrackted major crowds. The fifties are
generally referred to as the Golden Age of Philippine
Cinema. Technical advancement kept pace with artistic
needs, leading to several international awards.
The sixties marked a major turning point in the Philippine
cinema. The steady flow of local movies was slowly
undermined by foreign productions. In the 1990s, cinema is
engaged in a vicious cycle - of genres, plots,
characterization and cinematic styles. Copying from the
much more popular American films, Philippine cinema is
losing its own unique identity. Still, some films been
successes and not only financially, Diaz-Abaya's "Rizal"
(1998), was a success both commercially and critically.
Presently, films are primarily made for profit, Hollywood
films are being preferred over local films.
V. Bibliography
Classificationshttp://www.classification.gov.au/Industry/Documents/Understanding%20Classifications
%20Cinema.pdf
Present movie developmenthttp://www.wisegeek.com/what-is-movie-development.htm
Elements of cinemahttp://www.elementsofcinema.com/screenwriting/three-act-structure/
Philippine cinemahttp://www.filmbirth.com/philippines.html
