LO1: Understand script elements for a range of different media products.

STRUCTURE OF ALL SCRIPTS:

As previously mentioned in some of my analyses,  all scripts universally use Courier New font size 12. This is because it is industry standard as well as being easy to read, making it so that anyone from a variety of backgrounds will be able to read and understand the script, an example of this is the UK movie and TV show (Hot Fuzz and YOU) that I have analysed later in the post, showcasing how widely this style is used.

However, the radio and video game script do not use Courier New. Even though the radio script isn't Courier New, it still uses a font known for how easy is to read. However, this is unconventional and most radio scripts do this. The video game script doesn't use courier new as it isn't trying to highlight what the dialogue is, but rather the options the player can choose.

ANALYSING A TV SHOW SCRIPT: YOU

https://assets.scriptslug.com/live/pdf/scripts/you-101-pilot-2018.pdf

Language and angle of 'YOU':

The script for episode 1 of Netflix's hit TV show 'YOU' uses a mixture of chatty and formal mode of address. This is used to convey the personality of our villain protagonist to the audience and entertain us. The monologues in Joe's head are cold and formal as he psychoanalyses people which heavily contrasts with the interchanging chatty dialogue he has with the other characters. This switch between elaborated and restricted code creates a strong juxtaposition that helps to emphasise how much of a disconnect Joe has from what hes actually saying. This helps to give the audience a sense of how psychotic he is as we hear exactly what he's thinking, whilst also being entertaining as it leads to comical moments as well as tension as we fear for the other unsuspecting characters around him. 

Here is an example of the first dialogue we hear when watching the show, which positions us in Joe's point of view as we hear his thoughts. The dialogue is descriptive and detailed, focusing on small details to emphasise the characters invasive nature. This gives the reader/watcher the impression of the show before the very first scene ends. 

In contrast, this is an example of the dialogue in the same scene Joe has with the character he was initially describing. It has a much more chatty mode of address more akin to the romance genre to set up a realistic beginning of a relationship, as the basis of this relationship is grounds for the plot of the show. 

Here is an example of the different ways the script uses the switch between POV's, here to entertain the audience as we hear a joke only the audience would be able to hear as we know Joe is being abruptly two-faced in a comically exaggerated way that also helps us understand the nature of his character. 

The format and layout of YOU:

The way the script for episode 1 ends is very effective at conforming to genre conventions and conventions of a TV show script. The shows genre is a drama/psychological thriller. 

Throughout the episode the audience is increasingly shown how much Joe is obsessed with the character 'Beck', starting by over-analysing her and reaching tense high points such as following her home, stealing her phone and stalking her. As the audience watch the episode the show fulfills its purpose of entertainment by giving the audience a morbid curiosity of wondering just how far Joe will go to stalk Beck; it's exciting and tense. The episode gradually increases in these moments and gives the audience a final crescendo of Joe violently kidnapping Becks boyfriend. This fulfills the audiences genre expectations of a psychological thriller as it gives the audience a sense of thrill, tension and morbid intrigue as the script hooks the reader/audience through the episode structure building up to this final moment. The script for the pilot ending this way is also very stereotypical of the TV show format, as it leads to the pilot ending on a tense cliffhanger. This follows TV show conventions as it leaves the audience wanting more, making it more likely that they will want to see what happens next, and click on the next episode. The dialogue used also helps to achieve this, giving us a final monologue from Joe that displays just how psychotic he really is, giving us more of the morbid intrigue. The script follows these conventions well while also offering the audience a unique selling point that isn't often seen in the genre; that we get to read/hear Joe's thoughts. It positions us in his point of view creating a moral conflict for the audience themselves, we know what he's doing is wrong but we still don't want him to get caught as we hear how he tries to rationalise his behavior and want to see what will happen next. This type of moral conflict is extremely stereotypical for the psychological thriller/drama genre and almost involves us as passive viewers, making it much more likely that we will watch the next episode to see how the story will unfold. 

The script style of YOU:

The style of this fictional script is 'multi-stranded', which is typical for a TV show drama. This means that we follow multiple central characters often switching between Becks POV of what's happening and Joe's thoughts, either in the same scene stalking her or reading through her messages so that he know he understands what's happening even if he isn't present for the scene. As well as this, we follow them in completely separate scenes, this is so that we understand the shows main lead characters better and so that we know information about them that the other characters don't know, leading to tense moments that are stereotypical for the drama genre to fulfill audience expectations and leaving them satisfied with the plot whilst still wanting more.

The script also follows a mostly linear format, telling the story in order of events happening as the plot/tension builds and becomes more and more suspenseful. This keeps the audience on the edge of their seat and keeps them wanting more so that they are more likely to watch the next episode. However the script also uses flashbacks in later episodes so that we understand why Joe is the way he is and helps to explain the events that are unfolding.  

The script for episode 1 has 6 acts which goes against Todorov's theory of a 3-act structure. This is because having more than 3 acts is much more effective for creating a TV drama episode. As TV show episodes often end in a cliffhanger, the episode shouldn't have a resolution as the story takes place across an entire season. The resolution instead should be present in the final episode of the season. Especially in the case for TV show pilots, like I am analysing, the episode should instead set up the shows conflict, which YOU does perfectly. This wouldn't be possible if the episode followed a simple 'set up, dilemma, resolution' format.  

ANALYSING A UK MOVIE FILM SCRIPT: Hot Fuzz

https://indiegroundfilms.files.wordpress.com/2014/01/hot-fuzz.pdf

The genre of the UK film 'Hot Fuzz' is a comedy, with a target audience of young adult males. This means that it naturally uses a chatty mode of address its easier to deliver comedic lines as characters banter between each other. This is effective for a comedy script as the viewers feel as if they are watching a natural conversation between friends. This leans towards the script having a mostly restricted code as most of the lead characters aren't supposed to be seen as being from a higher social class and often use slang. However, elaborated code is used in the opening of the script to emphasise how seriously 'Angel' (the lead character) takes his job. The script appeals to its target audience by using over-the top gore and violence to provide satire to the action genre, whilst still conforming to the genre conventions. This on top of its witty dialogue and humour very effectively targets the young adult male audience.

Here is an example from the opening of the script, using more elaborated code in its dialogue.

Here is an example from slightly later in the script, which uses chatty mode of adress, restricted code and witty dialogue to effectively target its audience. 

The script itself mostly conforms to Todorov's three act structure; the opening setting up the premise, the middle creating a murder-mysery dilemma and finally the ending fight scene followed by a resolution. This is effective for a more simple story contained within a movie as the primary goal of the product is to entertain you with its comedy, not to wow you with an overly convoluted story spanning multiple TV seasons. This is also made apparent through the style of the script being single stranded (two lead characters that provide the source for the comedy) and a linear story where story beats are told in chronological order. This helps the script conform to its genre expectations of action comedy.

ANALYSING A RADIO SCRIPT: 'How Many Miles to Basra'

https://www.bbc.co.uk/writersroom/documents/how-many-miles-to-basra-colin-teevan.pdf

'How Many Miles to Barsa' is a BBC radio drama aimed at middle aged target audience. The purpose of the product is to entertain as well as educate the audience on the effects of war. The audio is multi-stranded as it follows a series of lead characters as they embark on a mission in a war torn country. As the genre is a drama about war, the script uses elaborated code to approach the subject with the sensitivity required. This was to not upset/be insensitive to the mature target audience who may have had personal experiences with the effects of war and understand its seriousness. This is shown in the opening dialogue. This more formal mode of address is important to use as it helps to convey to the audience that the subject of war isn't to be taken lightly, and sets a serious tone for the opening premise. Unlike other scripts, radio uses the style of 'running order', where stories/features are told using the 5W's (who, what when where, why). This is used to help the listeners visualise what's happening in their head, as the audience aren't able to actively see what's happening. 

ANALYSING A VIDEO GAME SCRIPT: 

Unlike what I have previously analysed, video games follow a 'flow chart' instead of a traditional script. This is because what happens in the game is often influenced by the players choices. This helps to give the production crew an in depth chart of what must be included in each level, as they need to account for every option a player could choose within the set level, and what will happen if the player chooses that option. This means that there isn't a specific linear timeline of what will happen within the game. One of the factors the flow chart helps the developers account for is what other options will the player have left after choosing that option? Can the players still go back to the other options they previously missed or does it progress the level forward? This makes it so that the developers can create a non-linear, multi-stranded timeline of events that help to form the overall level design. These flow charts do not conform to the typical script conventions as they don't display the dialogue for the on-screen acting, but instead behind the scenes tools for developers to help them form the overall level design, so restricted/elaborated code, for example, isn't used. These are often paired with dialogue scripts for what the actual characters say in game, which is also non-linear as the characters react to the players choice.