Dissertation Proposal

The role of dialogue and on-screen monologues in constructing complex characters - deconstructing the principle of "show, don’t tell" filmmaking in fiction.

I'm researching the role dialogue plays in constructing important characters and will apply my findings to animation, a medium which ordinarily undercuts the importance of speech in favour of exaggerated visuals. I'll examine the ways in which dialogue is most impactfully used and the extent to which it can impart character development that a silent performance doesn't allow. My essay will scrutinise the theory that cinema is a "show, don't tell" art form by addressing questions like; if a filmmaker is made to remove large amounts of dialogue from their film, is it handicapping them or does it force them to be more visually inventive? Does removing exposition, such as in the case of Mad Max, rob them of some character?

Mad Max: Fury Road (2015)

In researching this, I will touch on how the absence of dialogue is used creatively in films where characters communicate non-verbally and more subtly. I hypothesise that a tone of voice can communicate as much as a detailed facial performance. I'll also touch on narration as an example of how adding another voice, be it an omniscient narrator, a subjective or first person perspective, completely changes our relationship and perception of the characters onscreen.

I'll develop my own scriptwriting skills as I have previously shied away from using dialogue out of fear of writing clichés. By gaining a broad understanding of the impact of dialogue and physicality, I'll be more of a well-rounded filmmaker. I've always enjoyed dramatic monologues, so to be able to write my own would be an important string to add to my bow. I also hope to carve out my own writing style and not simply mimic existing filmmakers.

As a culmination of my research, I'll animate a short conversation between two people that conveys their characters, relationship, tone and general disposition. I'll keep the character designs and background minimal so the animation is the focus of the scene.

In Bruges (2008)

It's definitely worth exploring Tarantino's films as he uses dialogue not just to advance the plot but to provide detailed context about the characters in a social setting. I'll examine also Martin McDonaugh's work and "Anomalisa", in which every character besides the leads have exactly the same voice which lends it a detached, uncanny feeling.

Anomalisa (2016)

I'll also turn to Orson Welles, whose monologues were far more theatrical than those in many contemporary films. Drawing from a diverse range of filmmakers is crucial for understanding the kind of dialogue I want to write myself. I'll attend some events at Leeds International Film Festival to try and discover smaller scale filmmakers who use dialogue creatively. Then I'll contact the scriptwriters for insight.

Falstaff: Chimes at Midnight (1965)

Here's my bibliography so far:

·      Cavna, M (2012) ‘PIXAR TIPS: ‘Brave’ artist Emma Coats shares her storytelling wit and wisdom on Twitter (#Followher)

·      Corliss, R. (1970) ‘The Limitations of Kracaucer’s Reality’, Cinema Journal, Vol. 10, No. 1 pp. 15-22

faces-in-objects? Accessed (20/10/18)

·      Gibbs, J (2002) Mise-en-scène: Film Style and Interpretation, U.S.A, Columbia University Press p.43

·      Hayes, D. Webster, C (2013) Acting and Performance for Animation. U.S.A, Focal Press 

·      Hooks, E (2000) Acting for Animators, 3^rd Edition, U.S.A, Routledge 

·      Hospers, J (1980) Truth and Fictional Characters, The Journal of Aesthetic Education, Vol. 14, No.3, p. 

·      Jaeckle, J (2013) Film Dialogue, U.S.A, Columbia University Press, p.58 (and the preface and intro)

·      Kozloff, S (2000) Overhearing Film Dialogue, U.S.A, University of California Press, pp. 43-48 

·      Kracauer, S (1960) Theory of Film, London; New York, Oxford University Press 

·      Mackendrick, A (2004), On Filmmaking – An Introduction to the Craft of the Director, London, Bloomsbury, p.160-164

·      McKee, R. (1999), Story – Substance, structure, style, and the principles of screenwriting, USA, Methuen, p.344 

·      Robson, D (2014) Neuroscience: why do we see faces in everyday objects? Available at: http://www.bbc.com/future/story/20140730-why-do-we-see-

·      Sampson, R (2015) ‘Quintissential Quentin Tarantino Template’, Film Inquiry:  Available at: https://www.filminquiry.com/quintessential-quentin-tarantino-template/ Accessed: 8/10/18 

·      Storrier, K. ‘The use of Narration in ‘The Shawshank Redemption’, Shorescripts, Available at: https://www.shorescripts.com/the-use-of-narration-in-the-shawshank-redemption/. Accessed: 25/09/18

·      Thomas, F, Johnston, O (1981) The Illusion of Life, U.S.A, Disney Editions