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Monroe's motivated sequence is a technique for organizing persuasion that inspires people to take action. Alan H. Monroe developed this sequence in the mid-1930s. [1] This sequence is unique because it strategically places these strategies to arouse the audience's attention and motivate them toward a specific goal or action.
According to this theory, the world is a stage where all the people present are actors and their actions parallel a drama. [1] Burke then correlates dramatism with motivation, saying that people are "motivated" to behave in response to certain situations, similar to how actors in a play are motivated to behave or function. [1]
The three-act structure is a model used in narrative fiction that divides a story into three parts , often called the Setup, the Confrontation, and the Resolution. It has been described in different ways by Aelius Donatus in the fourth century A.D. and by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting .
Narrative rationality and narrative emotion are complementary within a narrative theory. The former considers how effectively the story conveys its meaning, as well as its implications. The latter considers the emotional reactions of the story's observers. [19] Narrative emotion is an emotion felt for the sake of someone, or something, else. [19]
The narrative theory of equilibrium was proposed by Bulgarian narratologist Tzvetan Todorov in 1971. Todorov delineated this theory in an essay entitled The Two Principles of Narrative . The essay claims that all narratives contain the same five formal elements: equilibrium, disruption, recognition, resolution, and new equilibrium.
Its most basic premise is that entertainment users attach an emotion to various characters within a narrative, but this has been expanded to comedy, drama, tragedy, violence, and sport (Raney, 2006a). Although some theorist argue that the similar theories used to explore different forms of entertainment media encompass the same general ...
The literary theory of Russian Formalism in the early 20th century divided a narrative into two elements: the fabula (фа́була) and the syuzhet (сюже́т). A fabula is the chronology of the fictional world, whereas a syuzhet is a perspective or plot thread of those events. Formalist followers eventually translated the fabula/syuzhet ...
Most premises can be expressed very simply, and many films can be identified simply from a short sentence describing the premise, e.g.: A lonely boy is befriended by an alien = E.T. the Extra-Terrestrial (1982) A small town is terrorized by a shark = Jaws (1975) A young boy sees dead people = The Sixth Sense (1999)