Buffy the Vampire Slayer: Myth, Metaphor & Morality by Mark Field
By Mark Field
Gathered essays protecting each one episode of the tv sequence Buffy the Vampire Slayer.
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Additional resources for Buffy the Vampire Slayer: Myth, Metaphor & Morality
You may have heard of this interconnection between character and story being referred to as causal relationship. But to many new writers that is just a phrase, something intangible, even if they can see the result. Let’s take this example: a) A child dies. His mother dies. This is not a story, simply because the two are not interconnected. But: b) A child dies. His mother then dies of grief. Now we have a story. The action of one is the direct cause of the other, thus the term causal relationship.
I don’t think so. Thousands of children in the viewing audience would identify with David’s predicament. They don’t fully understand the concepts, but they know they exist. If the perception of the child were the focal point for our storytelling, mightn’t we get a chance to look at all those issues through a child’s eyes, and see our welfare state, with all its anomalies, from his or her emotional viewpoint, and say something that’s never been said before about how kids cope with their parents’ pain and trauma?
Once DOCUPRO FINAL ART CLIENT: ALLEN & UNWIN REFERENCE: DP3/DP3106/MAIN 26 Who wants what—and who gets it? 27 the actor undertakes to play the role, that self-absorption is translated into total absorption in the character you have created on paper, but into which the actor will breathe life. The financier has a different agenda again. Films and television in Australia are financed in a number of ways, but one thing is true of all of them. Once your script gets to the point of being financed, it stops being art, a creation, and becomes simply a product, a commodity.