Activity for rolfedh‭

Type	On...	Excerpt	Status	Date
Comment	Post #276107	The two-hour length of commercial movies limits character development. Luke doesn't spend precious screen time in this film rebelling against his destiny or waffling between good and evil: He briefly doubts the connection between himself and the Force and then moves forward. The story counterbalances... (more)	—	over 4 years ago
Edit	Post #276107	Post edited: Updated and expanded.	—	over 4 years ago
Edit	Post #276107	Post edited: Expanded and improved.	—	over 4 years ago
Edit	Post #276107	Post edited: Expanded content.	—	over 4 years ago
Edit	Post #276107	Post edited:	—	over 4 years ago
Edit	Post #276107	Initial revision	—	over 4 years ago
Answer	—	A: How can I pinpoint a story's moral dilemma? How can I pinpoint a story's moral dilemma? In classic narrative structure, the first act, called "the setup," establishes the setting and characters. Then, it creates the problem. First, look for the escalating problem that sweeps away the previous normal and puts pressure on the characters in... (more)	—	over 4 years ago
Comment	Post #275954	Yes, exactly! In this case the point of inflection is when John first sets eyes on Billie in a nightclub and tosses caution to the wind. From there forward, there is no deflection from the trajectory that leaves his body on the sidewalk outside a movie theatre. (more)	—	over 4 years ago
Edit	Post #275954	Post edited: tweaked some wording	—	over 4 years ago
Edit	Post #275954	Post edited: Minor tweaks and corrections.	—	over 4 years ago
Edit	Post #275954	Initial revision	—	over 4 years ago
Answer	—	A: How can I pinpoint a story's moral dilemma? Q: What about heist movies? A: John Dillinger's character in Public Enemies is an excellent case study of a tragedy within a heist movie. Dillinger does not have a moral dilemma of choosing, "Should I do good or do bad?" He has already resolved that by creating his robin-hood persona: stealing fro... (more)	—	over 4 years ago