A Creative Computing Approach to Film-story Creation: A Proposed Theoretical Framework
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ative Computing Approach to Film-story Creation: A Proposed Theoretical Framework Hong-Wei Liu 1 Hong-Rui Liu 2 Hong-Ji Yang 3 En-Ze Yu 4 1Tianjin Foreign Studies University, Tianjin 300204, China 2San Jose State University, San Jose 95192, USA 3University of Leicester, Leicester LE1 7RH, England 4South China Business College, Guangdong University of Foreign Studies, Guangzhou 510545, China
Abstract: The film industry is currently witnessing a severe shortage of good stories and a decline in storytelling art. Meanwhile, creative computing has been employed successfully in the humanities, especially in the fields of art. Seeing the similarities between the process of film-story creation and that of creative computing, we propose a theoretical framework across the two domains, where the exploratory, the combinational and the transformational rules are jointly utilized to generate new ideas and provide potential options in filmstory creation. The framework consists of a film knowledge library, a creative computing system, an evaluation model and an output module. The combination of creative computing and film story creation not only helps to produce novel storylines, shorten the creation cycle, and speed up film industry, but also contributes to the novelty and specificity of interdisciplinary studies. Keywords: Creative computing, film-story creation, creativity rules, automatic generation, human-like scriptwriting.
1 Introduction Throughout the history of film development, it is the scriptwriters′ exploration in various aspects like story structure, style, theme, and emotions that inspires the production of film stories and then many classic works. This kind of production is heavily dependent on the inspiration of scriptwriters. It is observed that there are many research findings around the world that serve as the theoretical models for story creation. The monomyth, or say, the fundamental structure of storytelling[1, 2], has been a much-preferred and much-copied template among the script-writers in Hollywood for years, generally deemed as the archetypal pattern in film-making. Among the related studies, Millard[3] emphasizes the influence of the visual story on the story creation, whereas O′Connor and Jackson[4] consider the historical and cultural elements are the crucial components of a story. Wei[5] argues that the socially omnipresent moralism determines how a story is constructed. He[6] explores the spatial structure in story creation. Yang[7] generalizes the relationship between film narration and language convention. All these theories, though essential constituents of filmstory creation knowledge to some degree, lead to the production of more stereotypical film stories. Research Article Manuscript received October 5, 2019; accepted May 25, 2020 Recommended by Associate Editor Jyh-Horng Chou © Institute of Automation, Chinese Academy of Sciences and Springer-Verlag GmbH Germany, part of Springer Nature 2020
The film industry currently
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