HOLLYWOOD'S NEWEST STAR

Nearing the end of the second week, only one last bit of research is left to do: the main character. Until now, the story had been the focus, and while it is more concrete now than it ever was, it will not be entirely done until the protagonist can be in it. And they can only be in it if I figure out who they are and what their motivations - their "spine," as Stanton called it in his lecture. Even more, I have to figure out a way to have the character embody the genre characteristics while appealing to a specific public. Let's get to it.

 

Yep, that's me (don't worry, this was a long time ago)

First and foremost, my target audience is primarily older teens to adults. Because I cannot get an actual adult to act for me à la Hollywood, the protagonist will have to be played by none other than me (my sisters refused the offer to star in the production). While this would undoubtedly restrain my target audience - I highly doubt any adult would enjoy watching a 17-year-old playing grown-up - I will choose to simply ignore the shift and pretend that the main actress is not, actually, a teenager. In addition to that, men do not commonly watch female-led movies (with some exceptions, of course; the content and genre of the feature play essential parts in this audience split). That said, yet another limitation is imposed on my ideal public. Regardless, my story is not necessarily a narrative about being a woman. In other words, the gender of my protagonist should not matter to the tale, even though it most likely will impact who watches it. Now You See It's video on the subject was particularly helpful in coming to this conclusion. 

 

Now, in regards to the overall characteristics of the drama genre, the main character has to be flawed. Since drama relates to realism and sensitive portrayals of the real world, the hero has to be human, above all else. That is the appeal of this style, and it's what makes people want to watch the flick until the ending. Besides, dramas aim to elicit strong emotions in response to the ups-and-down in the storyline, and, for that, the protagonist has to endure a series of misadventures. In my narrative, the character is clearly undergoing stress - both self-imposed and extraneous to her - and her downfall is reflective of her imperfections: no one can endure such pressure for endless amounts of time. 

 

From the start, my scientist is rational and lets reason guide her before any intuition. Trophies, medals, and ribbons only work to show how successful her past projects have been and how, as an accomplished person, all eyes are on her to succeed. After so many experiments, this next one was a logical step, not to mention the one she had been drifting towards from the beginning. Deep down, everyone wishes to get praise and validation, and that is no exception among pharmacologists and scientists alike. I do not mean to discredit any who strive to achieve something for "the greater good," yet none can deny the hint of selfishness and egotistical pleasure of being among the best and brightest. That is what motivates my protagonist, though her purpose grows murkier as she gives way to insanity.

 

Having set her mind on this impossible task, she cannot afford to give up. The chemist must prove to herself - and to others - that she is capable of greatness. Still, from that very moment, she is doomed to fail. There is no truth to the pseudoscience, and yet she hopes to uncover one. As I've mentioned, the desire for recognition eventually becomes the need for it to work, for there to be a mystical cure so that all her work would not be in vain - or worse, that she would have made a fool of herself. And so, the scientist plunges into work, firmly believing that she will emerge victorious - if she does emerge at all.

 SOURCES:

Is the film industry doing enough to engage female audiences? (n.d.). Screen. Retrieved February 21, 2021, from https://www.screendaily.com/features/is-the-film-industry-doing-enough-to-engage-female-audiences/5129915.article

MPAA Report 2016: 52% of Movie Audiences Are Women & Other Takeaways. (n.d.). Women and Hollywood. Retrieved February 21, 2021, from https://womenandhollywood.com/mpaa-report-2016-52-of-movie-audiences-are-women-other-takeaways-12320da989b4/

Now You See It. (2019, March 1). Writing Women [Video]. YouTube. https://www.youtube.com/watch?v=5asVUCGmmEE

A. (2018, November 1). Protagonist - Examples and Definition of Protagonist. Literary Devices. https://literarydevices.net/protagonist/