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Korean and French screenwriting practice (韩国/法国编剧方法) — from the international masterclass; Oh Seung-uk (Christmas in August, The Shameless; field research in disguise, "write the emotion", first act and last act first, spaces as skeleton, reading to hostile listeners, surviving producers), Choi Seok-hwan (King and the Clown; genre as promise to the audience, "story = deepening crisis + intensifying desire", two reversals and bittersweet endings, the producer/director/writer trio), and Frédéric Auburtin (Paris je t'aime; dialogue last, Italian-style table reads, "12 lines not 13", dignity for characters, originals born from commissions, editing by emotion). Use when working in a Korean-style commercial drama or genre film, a French auteur/commission context, when planning field research, when a producer relationship is the problem, or when you need the Korean "three live together" development model or the French "emotion first, structure second" editing approach.

日本語の概要は準備中です。原文の説明を表示しています。

Genre anatomy from John Truby's The Anatomy of Genres (类型解剖 / 类型节拍 / 混合类型 / 超越类型) — genres as beat systems with a life philosophy underneath; three rules (hit every beat of your genre, mix three or four genres, transcend the primary genre), the ladder and families of twelve genres (Horror 恐怖, Action 动作, Myth 神话, Memoir and Coming-of-Age 回忆录与成长, Science Fiction 科幻, Crime 犯罪, Comedy 喜剧, Western 西部, Gangster 黑帮, Fantasy 奇幻, Detective and Thriller 侦探与惊悚, Love 爱情), each with its hero/opponent/world/plot-shape template, beat list, hard rules with failure conditions, subgenres and transcendent paths, plus a genre-mixing worksheet and a diagnostic. Kept beside sw-truby-anatomy and the Field/Snyder page maps. Use when choosing or confirming a script's genre, when a genre story feels generic or misses the beats its audience expects, when mixing genres, when a horror lacks pressure, an action lacks plot, a love story lacks opposition or a detective story lacks reveals.

日本語の概要は準備中です。原文の説明を表示しています。