Plot Structure
From Lost Highway
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4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!... | 4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!... | ||
| - | + | == Freytag analysis == | |
| + | |||
| + | Though originally based on an analysis of five-act dramas, [http://en.wikipedia.org/wiki/Gustav_Freytag Gustav Freytag's] model of [http://en.wikipedia.org/wiki/Dramatic_structure dramatic structure] has been adopted, adapted, and applied to plot structures in various mediums and genres. [[Image:Freytagpyramid.png|right|thumbnail|265px|Freytag's pyramid]] | ||
| + | |||
| + | Freytag divided a dramatic structure into five components: | ||
| + | |||
| + | * Exposition (and inciting incident) | ||
| + | * Rising action | ||
| + | * Climax (or turning point) | ||
| + | * Falling action (and resolution) | ||
| + | * Dénouement | ||
| + | |||
| + | Freytag's model is sometimes represented visually as Freytag's Pyramid. One way to explain Freytag's model is as follows: | ||
| + | |||
| + | '''Exposition (and inciting incident)''' | ||
| + | The exposition introduces the central characters and the central conflict of the story and ends with an inciting incident which set the remainder of the plot in motion. | ||
| + | |||
| + | '''Rising action''' | ||
| + | During the rising action, the central conflict may be intensified, or may be complicated by the introduction of additional conflicts; additional obstacles that frustrate the protagonist's attempt to reach his or her goal; and/or additional antagonists, who may work with other antagonists or independently, by and for themselves. | ||
| + | |||
| + | '''Climax (or turning point)''' | ||
| + | The climax, or turning point, marks the culmination of the central conflict for the protagonist and is typically characterized by the protagonist's effective or imminent success or defeat, a stalemate, a redefinition of the protagonist's goals, etc.. | ||
| + | |||
| + | '''Falling action (and resolution)''' | ||
| + | The falling action may unravel the aftereffects of the climax; the protagonist's additional conflicts; and/or the fate of additional antagonists or other characters. The falling action completes or ends with the resolution of the plot's conflicts and the characters' fates, whether in confirmed success or triumph, irreversible failure or loss, resignation, preparation for a new direction, etc.. | ||
| + | |||
| + | '''Dénouement''' | ||
| + | Some literary critics make no distinction between resolution and dénouement, in which case the resolution serves as the plot's dénouement. However, a dénouement may also portray one or more of the following: the aftereffects of the resolution; a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as he or she had hoped; a celebration or mourning of the conflict's outcome; etc.. | ||
| + | |||
| + | One way to apply Freytag's model to ''Lost Highway'' is as follows: | ||
| + | |||
| + | * Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving the message that "Dick Laurent is dead" may also be considered an initial inciting incident. | ||
| + | * Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as a fulfillment Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice. | ||
| + | * Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the [[Mystery Man]] ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?"). | ||
| + | * Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", and Fred confronts and kills the antagonist Laurent with the help of the Mystery Man. On some interpretations of ''Lost Highway,'' the resolution may be considered to include the remainder of the film, ending with Fred's death. See | ||
| + | * Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. See | ||
Revision as of 13:01, 12 September 2012
Analysis of Lost Highway's plot structure treats the film in a linear fashion, considering the scenes in the order in which they appear in the film. However, the analyses of plot structure should remain neutral toward the different Theories of Lost Highway, some of which may construct a chronology of events that is not restricted to the linear order of scenes in the film.
4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...
Freytag analysis
Though originally based on an analysis of five-act dramas, Gustav Freytag's model of dramatic structure has been adopted, adapted, and applied to plot structures in various mediums and genres.
Freytag divided a dramatic structure into five components:
- Exposition (and inciting incident)
- Rising action
- Climax (or turning point)
- Falling action (and resolution)
- Dénouement
Freytag's model is sometimes represented visually as Freytag's Pyramid. One way to explain Freytag's model is as follows:
Exposition (and inciting incident) The exposition introduces the central characters and the central conflict of the story and ends with an inciting incident which set the remainder of the plot in motion.
Rising action During the rising action, the central conflict may be intensified, or may be complicated by the introduction of additional conflicts; additional obstacles that frustrate the protagonist's attempt to reach his or her goal; and/or additional antagonists, who may work with other antagonists or independently, by and for themselves.
Climax (or turning point) The climax, or turning point, marks the culmination of the central conflict for the protagonist and is typically characterized by the protagonist's effective or imminent success or defeat, a stalemate, a redefinition of the protagonist's goals, etc..
Falling action (and resolution) The falling action may unravel the aftereffects of the climax; the protagonist's additional conflicts; and/or the fate of additional antagonists or other characters. The falling action completes or ends with the resolution of the plot's conflicts and the characters' fates, whether in confirmed success or triumph, irreversible failure or loss, resignation, preparation for a new direction, etc..
Dénouement Some literary critics make no distinction between resolution and dénouement, in which case the resolution serves as the plot's dénouement. However, a dénouement may also portray one or more of the following: the aftereffects of the resolution; a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as he or she had hoped; a celebration or mourning of the conflict's outcome; etc..
One way to apply Freytag's model to Lost Highway is as follows:
- Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving the message that "Dick Laurent is dead" may also be considered an initial inciting incident.
- Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as a fulfillment Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice.
- Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the Mystery Man ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?").
- Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", and Fred confronts and kills the antagonist Laurent with the help of the Mystery Man. On some interpretations of Lost Highway, the resolution may be considered to include the remainder of the film, ending with Fred's death. See
- Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. See
