Primera interpretación: percepciones del cambio climático

Nonhuman Characters, are anthropomorphic characters; characters who are literally anything other than human beings. These characters can manifest in a number of different ways—varying from fantastical characters like fairies, gnomes, goblins (etc.), animalistic characters such as lions, dogs, fish (etc.), mythical beasts like unicorns, griffins, dragons (etc.), supernatural creatures such as ghosts, phantoms, zombies (etc.), normally inanimate objects like rocks, shoes, toasters (etc.); or anything a writer's imagination can possibly conceive.

The value of creating nonhuman characters is ascribing human-like

characteristics to creatures or objects that don't, and to imagine how a specific thing might behave if it were given a human voice and human emotions.

EXAMPLES:

The NeverEnding Story(1984) features a myriad of nonhuman characters, including Falkor (Alan Oppenheimer), the magical flying dragon that Atreyu (Noah Hathaway) rides, Rockbiter (also Alan Oppenheimer), Cairon (Moses Gunn), Teeny Weeny (Deep Roy) and Engywook (Sydney Bromley)--in fact, the whole world of Fantasia is teeming with life that lies outside the realm of human-species, though most all of these creatures exhibit human-like behaviors and personalities in varying degrees. Nonhuman characters, therefore, sometime represent different kinds of people allegorically, being a kind of non-human manifestation of certain types of common people, shown in a different light or in a drastically fantasy context, which can sometimes allow for a fresh and

unexpected perspective on old, typical characters.

The fact that the characters in the film Beauty and the Beast are non-human is what drives the plot of the film; for characters such as Lumiere the Candle Holder (Jerry Orbach), Cogsworth the Clock (David Ogden Stiers), Mrs. Potts the Teapot (Angela Lansbury), and the Beast (Robby Benson) himself, were all once human beings but have been mystically transformed into a beast and various articles of housewares. The entertaining value to the film is in the clever ways the individual characters are personified by their non-human manifestations; for instance, Lumiere is illuminating and enlightening in a way a candle might be.

Cogsworth is rigid and unbending, like time—or a well timed clock—would be.

Even Chip (Bradley Pierce), Mrs. Potts' boy, is named Chip and speaks with a whistle that suggests he has a chip in his tooth. However, it is the chance the characters have to return to their human forms, combined with the limited amount of time to do so, is what heightens the stakes for all the characters who

NONHUMAN CHARACTERS (CONT’D)

desire to break the spell—and also what motivates their attention to Belle (Paige O'Hara), a young girl who is held captive among them.

O.S.

O.S. (an abbreviation for Off Screen), is a page direction that signifies that a character's dialogue is delivered from somewhere outside the camera's frame.

Oftentimes, if it is beyond the audience's view, it is beyond the other character's view as well. This direction separates the characters in a scene with regards to their physical proximity to one another, but links them together through the off-screen character's voice. In teleplays this is often referred to as O.C. (an abbreviation for Off Camera)

EXAMPLES:

In Who Framed Roger Rabbit (1988), in a scene where gumshoe Eddie Valiant (Bob Hoskins) is interrogating cartoon producer R.K. Maroon (Alan Tilvern), a gun appears through the drapes and puts a hole in the back of Maroon before he can sing any delicate details to Valiant that someone would rather remain unsaid.

Though the gun itself appears on camera, the the hand, and who it belongs to, remains ambiguously anonymous, shrouded behind the drapes and the window blinds, giving an air of mystery to who is pulling the strings in the story. This is an example of how information can be kept outside the field of vision of the screen, the camera, and the audience—thus making this a scenario where O.C. is used to keep the mystery going a little bit longer.

The scene between Anton Chigurh (Javier Bardem) and Carla Jean Moss (Kelly Macdonald) takes place when the film is almost at an end. Anton Chgirh has gained his goal, Sheriff Ed Tom Bell's (Tommy Lee Jones) goal eluded him, and Llewelyn Moss (Josh Brolin) lost his entirely. However, there is still unfinished business between Anton and Carla Jean—though they have never met in life before the moment she sees him in her bedroom. They discuss the prospect of her death—that Chigurh has promised to kill her if certain conditions weren't meant and he is here to make good on his promise and to keep his word—an odd moral and ethical stance to take, but we have come to understand this about the

character since early on. As the scene plays out, Carla Jean tries to rationalize with Chigurh, who agrees to only give her one chance to live—to correctly call the flip of a coin in his pocket. She doesn't understand the significance and asks

how the coin can be allowed to decide Chigurh's actions. He tells her that he got to this place in time the same way that the coin did. Immediately afterward, Chigurh leaves the house. We don't know positively whether the coin came up heads, tails, or was even flipped at all—but we know that Chigurh checks his boots as he leaves the house, and that we never see or hear from Carla Jean again.

Whatever happened between them occurred off screen, or O.S.; out of the viewers frame of reference. This is an invitation on the filmmaker's and the writer's behalf for the audience to come to their own conclusions about how events played out for these two characters.

O.C.

O.S. (an abbreviation for Off Camera) is a page direction that signifies that a character's dialogue is delivered from somewhere outside the camera’s field of view. Most commonly used in writing for television, or teleplays. .

EXAMPLES:

See O.S.

Objective

Objective, is any character's goal, or incentive for undertaking the opposition's challenge. The objective is what motivates a character to begin, and to continue, the journey, An objective is also another way of asking what the character wants or needs; what the character thinks he or she is accomplishing by pursuing their goal. An objective isn't limited to only the protagonist or heroes of the film, as a strong, interesting antagonist or villain must have an objective as well. For that matter, every character should have their own agenda in order to ensure that they are unique and interesting. The more enticing the objective, the more motivated the character will become. The more motivated the character is, the harder the opposition must work to prevent the character from achieving it. The harder the opposition works increases the level of tension, fueling higher levels of drama and thus provoking your audience's involvement in the story.

OBJECTIVE (CONT’D) EXAMPLES:

In Planes, Trains & Automobiles (1987), Neal Page (Steve Martin) has only one desire: to get home to his family for Thanksgiving, even if it seems as though everything else wants only to keep him from doing it. It Throughout the entire course of the film, Neal is struggling against obstacles ranging from canceled airplane flights to rental cars engulfed in flames on his trek back home, all while accompanied with Del Griffith (John Candy), a man who is determined to be with his new best friend Neal every step of the way on Neal's way back home.

Neal's obstacles, which prevent his only want, combined with Del's personality, are enough to push Neal to the most extreme of circumstances. The dynamics of this film are made possible because the protagonist's objective is so clearly defined, because it is a specific objective, and because there are literally millions of ways the writer can come up with to prevent Neal from easily achieving it;

thus creating both comedy, and drama.

In Harvey (1950), Elwood P. Dowd (James Stewart) is an otherwise charming man who anyone would delight the company of—if it weren't for the undeniable fact that Elwood is single-mindedly convinced that he has an invisible, 6-foot tall, walking-talking “Pooka” a.k.a.: rabbit. Despite however content Elwood himself is with his 'friend', everyone else in Elwood's life, including his family, friends and caregivers, are distressed to no end by his fantastical, schizophrenic delusions. Therefore, it becomes the objective of everyone who isn't Elwood to cure him of his hallucination. The dramatic irony of the film is also slowly alluded to as Elwood's supposed 'friends' work to cure him—the lengths they go to save Elwood from himself are sometimes more insane than the allegedly psychotic behaviors of the man who is suffering from the delusions.