Last month I traveled to Italy for the first time in my life. That meant plenty of pasta and Campari, of course, and visits to the predictable tourist sites. But as a professional screenwriter, it also meant a consideration of some of the early days of dramatic storytelling, a topic that endlessly fascinates me.
In the photo, I’m standing by a mighty Roman sculpture in the heart of Rome: Trajan’s Column. Arguably an ancient example of “cinematic” storytelling. The commemorative sculpture celebrates Emperor Trajan’s hard-won victory in the Dacian Wars, via 155 narrative scenes in bas-relief that wrap around (and around and around, 23 times in all) the 115-foot column. (For a full view of the enormity of Trajan’s Column, click here.) If you were to unwrap the 23 spirals from the shaft, you’d have a 620-foot frieze confronting you, and a very solid example of time-based media.
The artists who designed and then built this sculpture possessed a good understanding of effective narrative construction. (And I suspect that Trajan signed off on the storyboards, in the same way a studio chief signs off on a $200 million film.) While things go well for the Romans for awhile, conflict intensifies as the Dacians (modern-day Romanians) mount a counterattack, culminating in Dacian women (possibly war widows) torturing captured Roman soldiers who’ve been stripped naked. (Nothing like a little sensationalism in our drama!)
Continue reading “Dramatic Storytelling, Then and Now”