Роль драматургічного конфлікту в побудові різних версій кінопроекту
The role of dramaturgic conflict in the construction of different versions of the film

Summary/Abstract: In autumn 2014 the State Cinema Agency of Ukraine in the announcement of the seventh call for proposals for the formation of program of film production and distribution in 2015-2016 year has put forward a new condition. "When a film project is planned for a broad audience, producer subjects have to provide documents confirming the interest in participating in film creation national television channels and film distributors, marketing strategy and producer vision of film project should include the concept of a television version of the film." For the first time in Ukraine not as an exception but systematically, directors face the need to propose draft film form with the condition of variability. Variability involves the creation of several films with different storylines based on one material. In the history of cinema variability was manifested in different ways. The State Cinema Agency of Ukraine suggests using variation for versions with different running time. We take as a basis that the theatrical version of the film will run less than the version for television. The television version, likely to consist of several parts. At first, consider the situation where a director and screenwriter face the problem of decomposition of the plot of a movie for a few films. Well written script, whether it's fictional or documentary film, provides the main conflict that will move the action from one scene to another. Trying to break the full story in some parts by separation of the finished material and supplement it with additional scenes to the desired timing will likely lead to the destruction of the conflict course, false endings and other unpleasant things. For making each part interesting for the audience, it must be self-sufficient work. And for this it is necessary that this part should have its start, development, climax, etc. That is, each series needs an independent conflict. Accordingly, the division of the full movie apart - is, first of all, the distribution of conflict or creating a series of conflicts over the original. But we can not forget that we have and with full movie with the only major conflict to do. Therefore there is the relationship between these conflicts. The simplest option is to create more conflicts based on the material of the full movie using the same protagonist and antagonist. Each of these conflicts has an independent line of development and its completion. Every part of this approach becomes virtually independent film. These parts are united by protagonist and antagonist in them, and their constant collisions. A more complex but interesting option is the coordination of possible conflicts if the main villain is a person who heads the organization or have some influence on other characters. Typically, an antagonist of the full film does not appear immediately. He acts through other characters, his assistants or servants. Often the protagonist generally not initially realize the nature of the conflict and who is behind this conflict. Only in the course of the film it becomes clear who the real enemy. Everything described above is general theory and it is suitable for both, documentaries and fictional movies. Applying this scheme, creators should not forget that in the last part antagonist has to show his presence in the first part. This presence should be light, but enough to make the viewer, after the seeing of all parts to understand the pattern, in which antagonist is at the top of the antagonists pyramid. As in detective story, everything necessary for the explanation should be stated at the beginning of the work. Another interesting option for coordinate conflicts is to use a single antagonist and different protagonists in different parts of the film. When you create a project, you can start to create series for the TV version, and only when the work is ready, start working on a theatrical version. So instead of decomposition of the plot, the goal is to create a single composition from several parts. It is wrong to make a theatrical version just cutting the series, it treats to harm to the development of the conflict. To some extent, work on the conflict in the composition is reversible mechanism of making of conflict in decomposition. Authors just need to find a correlation between conflict in each of the TV series and conflict in the theatrical version. Possibilities that opens the composition process, provide some template methods that may be quite suitable for a variety of scenario material. A typical scenario might include the following components: exposure, beginning, vicissitudes, culmination, climax. Any of these components can be constructed by simplifying a conflict of television parts. The simplest option is when the TV version consists of three parts, by combining them in a full meter, material of the first goes to the beginning, the second – to the development, the third – to the climax and denouement. This transformation requires minimum additional expenditure of time, because to some extent is mechanical. If you move away from simple template method of building a theatrical version from the separate parts, the most interesting are following methods: creation of complete films mainly based on the one part, the construction of complete films as a "digest" of individual parts, construction of films using reduced parts as episodes. Transition to the variability films can not be momentary. Therefore, the attempt of the State Cinema Agency of Ukraine systematically implement even the simplest form of variability can be seen as a very positive step.

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