Methods of anachronology include: (1) Prolepsis 8 - a flashforward, in which a future storyworld event is inserted between two events of the narrative “present” (2) Analepsis 9 - a flashback, in which a past storyworld event is inserted between two events of the narrative “present” and (3) Jumbled Sequencing 10 - a randomized presentation of storyworld events, lacking a primary narrative present and dictated only by the artistic concerns of the author.
Linear ordering may be disrupted in any number of ways. In screenwriting practice this means a freedom in the use of time structures.” 7 As has been pointed out earlier, film, like prose, is not bound to a time continuum. Īs Sternberg has observed, “The script neither follows the chronology of events nor indicates in which sequence the scenes are to be filmed during production. Screenplays that cover long durations of time may also include dates in the slug-line, and flashbacks will also be indicated in the scene heading.ĭiscourse time in the screenplay may be distinct from story time in three key areas - order, duration, and frequency - and we will now examine each separately.ģ.4.3. Story time is primarily tracked in the slug-line as either DAY or NIGHT, but some scripts may use subtitles to indicate specific clock times on the screen. While motion pictures are shot with running timecode, no additional duration-tracking conventions are employed in the craft of screenwriting beyond the page-per-minute rule, thus some temporal variability on the page is to be expected, where one inch of text may equal 6 seconds of screen time while the next inch may equal 30. 5 Since the page number/screen time relationship is essential to the screenplay’s role in film production, we will prefer the view that discourse time in minutes for a screenplay is roughly equal to the script’s number of pages. While it may take no more than 25 seconds to read a page of screenplay text, convention states that one page of text equals one minute of screen time. 4 Discourse time may or may not break linearity, and while the discourse time of a novel is the time it takes to read the novel, the discourse time of the screenplay is more complex since the screenplay points to a feature film. 3 A screenplay’s story time is the duration of the storyworld events narrated in the text, and it is always linear, moving forward in one direction. Like any narrative text, screenplays may be viewed in terms of story time and discourse time. Conventions of Cinematic Time in Screenwriting.
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