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Screen & Stage
Regardless of good usage, bad usage, and just usage of the English language, the linguistics of the screenplay are initially formed in verbal patterns that make it accessible to the audience. What words and how the writer uses them determine the application of that linguistic authority, captured by the script’s synthetic language.
The writing of a screenplay’s slug lines, action scenes, character traits, and dialogue are imposed usages in standard, nonstandard, formal, informal, or slang to accomplish the self-deception of objectivity in imagery and sound. The perceptive writer must be lucid in attitude and reminiscent of the culture in an attentive manner. Write what you know, not what you think you know" applies in the same vein as "write to express, not to impress."
The screen writer must understand inside and out the likes, dislikes, passions, whims, and crotchets of the storyline’s linguistic point of view to make it feel right. What makes this significant is its distinguishable contrast and what constitutes equivalence at the various suprasegments embedded in the script's plot.
The complexity of script structure is uniquely designed in accordance to human beings who are constantly learning and relearning the behaviour of language, essentially habitual with a great pressure for the individual to conform to the speech of their social milieu. Consequently, the same goes for the writer writing about something other than himself. Having internalized a native language, the writer must realign with the mental calibration of diverse cultures to apply his experience as the essential account of the screenplay’s idiolect.
In analysis, two recent movies come to mind that contrast this idiolect illustration, and whose character’s phonetic tongue precisely furnishes unerringly the expressions of their complex socioeconomic backgrounds. The Good Shepherd, written by Eric Roth and Harsh Times, written by David Ayer. Both movies set out to accomplish a number of things that assert their specific forms of language, which cause the audience to focus sharply on their stratification. The two films are starkly different, but equally produce the aesthetic connection of putting the protagonist into a compromising position. The conceivable language of each character resonates with the time period and community in seamless continuity. The dialogue is written so that it defines the character’s persona. This is a screenplay’s implication of semantics, the lexicon of syntactic compatibility.
Both plots come from the nature of numerous social problems stemming from the influences of their respective economic strata. The particular language of the characters defines the collective perception for the audience’s entertainment. This is the testing of the writer’s own scholarly expression and the genius of refined objectivity of their subject matter.
Linguistics is at the core of the human condition, our collective psychology, so it can produce an indefinite number of perspectives from the same scene – for example, a sentence in an action scene.
The concept of extensive and sophisticated variants boggles the mind, but this shouldn’t stifle the writer’s creative force from insecurity if they know how to articulate the story’s true voice. English offers enormous possibilities in vocabulary structures, where one simple sentence can yield a billion different variations. The rudimentary key is to distinguish a script’s voice with appropriate word usage that defines the script’s genre and systematic structure.
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