This is a double dialogue hook, juice answered by the lemons and heat answered by the dryer. The double entendre adds a nice twist, for the scene captures the erotic energy—juice and heat—Ben and Abigail share in making a historical discovery. 3.) An image can hook to an image. This is rarer than the first two types, but the first hook in National Treasure illustrates the possibility. In the prologue, as a boy ben learns of the templars treasure from his grandfather. Grandpa gates asks him to take on the duty of protecting the treasure and the family name. The young Ben raises his head as the music starts to rise as well.
Hook in an essay
2.) A sound can hook to an image. Usually the sound is a line of dialogue. In chc, we called this a dialogue hook. Lewis Herman, in his indispensable book on screenwriting, calls it a dialogue transition. 2 This is the most common sort of hook in National Treasure, and it provides some clever transitions. When jones Ben and Abigail are trying to bring out the cipher on the back of the declaration, they squeeze on lemon juice and blow fervently on the paper. Ben: we need more juice. Abigail: we need more heat. Cut to a bowl of lemons, then to a drawer opening to reveal a hair dryer. Ben and Abigail proceed to coax the code out of the paper.
Heres another example from National Treasure. Riley is insisting that the declaration is impossible to steal. On the steps of the lincoln Memorial, he says, let me prove it good to you. Cut to the dome of the library of Congress. At the visual level, this might seem not to be a tight link; isnt it like the exterior shot of the national Archives in the default example? What creates the hook is the second shots use of Rileys voice, which says that he has brought Ben to the library of Congress to convince him to listen to riley. This is the proof he proffered in his final line of the previous scene. So this first type of hook is easy to test for. Just ask: would it work on radio?
Scene a ends with a question; scene b opens with the answer. This is a common way a hook is used, though well see that principles of continuity or contrast can work as well. But first, lets map the possibilities. Confining ourselves for the moment to sound cinema, we can ask: What can hook to what? There essay are four simple possibilities. 1.) A sound can hook to another sound. Typically, a line of dialogue at the end of scene a links directly to a line at the start of scene. Thats what happens in the constance dogood instance.
That would be an example of the sort of transition that most interests me in this essay: The hook. In our book the Classical Hollywood Cinema, we called it that, and nowadays some screenwriters use the term too. 1 Here the audiovisual texture links a specific causal element the end of one scene to that at the very start of the next. The second, in a concrete way, completes the element we see or hear at the end of the first scene. At a later point in National Treasure, driving away from the scene of their robbery, ben mentions the clues in those letters. Asks Abigail, over a shot of the van. Cut to an extreme long shot of the van parked, ben pacing outside. Abigail is saying, you have the original Constance dogood letters.
How to write a hook for an essay - proposal
Ill try to convince you that essay transitions play an important role in those patterns. Meet the hook most scene transitions facilitate the first and second levels of unity. In many films, a fade-out marks the end a discrete act. At the midrange level of coherence, the end of one scene and the beginning of another will often be marked in a conventional way, by a disjunctive cut or a burst of music. Usually, however, the immediate blow-by-blow action of scene a and its audiovisual weakness texture arent linked directly to that of Scene. Take an example from National Treasure. Kicked out by the fbi, riley says that they have no one to turn to, but Ben says that they need someone whos passionate.
Cut to the exterior of the national Archives building, then a close-up of the flyer for the gala that will be so important in the second part. After several more shots, ben and Riley are ushered in to meet Abigail. The first part of the scene has left the causal line of the mens search dangling in order to wedge in the motif of the reception brochure. Now their hunt for a helper resumes. But suppose things were presented differently. Suppose that after Ben says they need someone passionate, we cut directly to the close-up of Abigail on the phone.
This cascade of choices, actions, and reactions flows logically out of his double goals: to find the treasure and to protect the declaration. This second level of structure isnt quite as linear as ive made it out, since well-constructed plots interweave various elements from earlier scenes into the development of later scenes. Appointments and deadlines illustrate this strategy. So does a causal chain thats left unresolved in one scene. Kristin and I have called this device the dangling cause, and it is very common in Hollywood dramaturgy. For example, in National Treasure, when calling on Abigail to seek permission to examine the declaration, ben notices a folder advertising an archive reception.
Several scenes later we learn that that reception will be the occasion on which Ben and Riley pull off their heist. Because of this weaving of causes and effects, we might best call this midlevel architecture the level of plot coherence : each scene is designed to advance the action but also to develop or tie off lines of activity set off earlier. A third, still finer-grained level of organization is what Ill call microstructure. This is the tangible, moment-by-moment texture, conceived as a pattern of images and sounds. For example, within a scene, we often find patterns of cutting—an establishing shot, reverse angles, close-ups, and so on—meshed with the developing dialogue. The audiovisual patterning carries the story along bit by bit, and these bits we take in and assemble into larger patterns of intelligibility, such as Ben and Riley fail to persuade Abigail to let them study the declaration. Likewise, in action sequences, cutting, composition, point of view, sound-image interaction, and the like carry the discrete developments of the action, which we intuitively pull into a larger unit, such as Ben, riley, and Abigail escape ian and keep custody of the declaration. Global macrostructure, midlevel plot coherence, and audiovisual texture or microstructure: we can study a films narrative at any of these levels. Usually we hop back and forth among them, searching for patterns that yield significant effects on the viewers experience.
How to Write the, hook
Characters formulate specific plans, react to changing circumstances, gain or lose allies, writing make appointments, resume act under deadlines, and otherwise take specific steps toward or away from their goals. Part of the screenwriters craft is to find ways to fit the short-term actions into the overarching movement toward resolution. In National Treasure, for example, the first large-scale part consists of concrete actions that flow naturally out of the goals. To find the treasure, ben and Riley and their opponents need the map. The map is on the declaration of Independence. Ian will try to steal it, so ben tries to alert the fbi, but hes considered a crank. He tries to get permission to look at the declaration, but that effort fails too. So he is obliged to protect it from Ian by stealing it himself.
The films fourth part constitutes a climax. The trail leads to manhattan, where ian takes our heroes hostage and they plunge into a lair underneath a church. The treasure ted is discovered, ian is defeated, and in an epilogue the protagonists are rewarded. For more on macrostructure, see the essay, anatomy of the Action Picture elsewhere on this site. At a lower level, we can think of the film as having midsize parts, usually called scenes or sequences. These parts, usually 30 to 50 in a modern feature, are tied together in particular ways. Typically the scenes develop and connect through short-term chains of cause and effect.
of the Knights Templar. Hes kept from achieving this goal by conflicts, obstacles, and delays. In the films first part, he and his assistant Riley learn that directions to the treasure are inscribed on the back of the us declaration of Independence. But Bens former backer Ian is also on the trail of the map, so our heroes acquire another goal: to protect the declaration. At the turning point of the first part, ben decides that the only way to achieve his goals is to steal the declaration. In the second part, ben and Riley make off with the document, picking up archivist. Abigail along the way. The third part consists of following the trail of clues laid out in the coded message, as our three are pursued by ians gang and by the fbi.
As so often, when we talk about form were actually talking about the psychology of spectators. A movies architecture, if we want to know how mainstream movies take us from scene to scene, i suggest we start by acknowledging three different levels of architecture. First, we can consider our film as having large-scale parts. Call this macrostructure —the way those biggish parts fit together. We might treat reel lengths resume as the salient parts, as silent filmmakers and Hong Kong filmmakers sometimes did. More recently, were urged to think of the large-scale parts as acts, either three in the current Hollywood advice books or four, as Kristin Thompson and I have suggested. But these more or less material divisions tally up with phases of the story action.
Hook in a essay - have your Research Paper Done
The hook: mother Scene Transitions in Classical Cinema. January 2008, how do movies carry us from scene to scene? The question is simple, but not many people have explored. Im especially interested in how transitions are managed in mainstream, mass-audience movies, but Ill have some things to say about other traditions too. Ill also be talking a lot about unity, which can make the whole exercise seem fairly old-fashioned and Aristotelian. Yet examining how films create internal patterns reminds us that those patterns are almost always aimed at the audience. Were supposed to register those patterns, consciously or not, and they prompt us to react in particular ways.