It's fascinating research. The act break page number rigidity has always sat fishy for me.
I suspect that the origination of looking for the patterns comes from a physical limitation that wove itself into theory. Back in the day, films were delivered to theaters in reels, typically a set of seven for a normal run film. Those reels averaged about 14 minutes each within the size limitations of the wrap of film on the standard sized can/empty reel. If you placed an act break/new scene right about that minute mark, you'd not lose anything if there was a physical transition that didn't quite hit exactly every time on the reel change. The page count act structure aligns pretty well to the reel change points.
The physical limitations of the theater projection is also one of the main reasons we think that a movie should be less than 2 hours in length. Not only does going longer mean an extra reel or two back then, but, running longer than 2 hours cuts out an entire showing on the day when you span out the runs at the theater. A less than 2 hour film can be run 5 times. Longer films, 4, cutting out 25% of the box office potential.
People don't often consider the practical, physical limitations that could be behind our industry "standards".
Many moons ago, I taught a still-photo storytelling course at Santa Monica College. It was one of the last assignments in the course, and I used a four-part structure that worked well for students over the four years (eight semesters) I taught it. Simple and effective.
Introduction: Show me the who, what, when, and where.
Exposition: Show me the steps the main character takes to meet the challenge.
Conflict: The main character is forced to deal with the challenge.
Resolution: The main character succumbs or overcomes.
It's fascinating research. The act break page number rigidity has always sat fishy for me.
I suspect that the origination of looking for the patterns comes from a physical limitation that wove itself into theory. Back in the day, films were delivered to theaters in reels, typically a set of seven for a normal run film. Those reels averaged about 14 minutes each within the size limitations of the wrap of film on the standard sized can/empty reel. If you placed an act break/new scene right about that minute mark, you'd not lose anything if there was a physical transition that didn't quite hit exactly every time on the reel change. The page count act structure aligns pretty well to the reel change points.
The physical limitations of the theater projection is also one of the main reasons we think that a movie should be less than 2 hours in length. Not only does going longer mean an extra reel or two back then, but, running longer than 2 hours cuts out an entire showing on the day when you span out the runs at the theater. A less than 2 hour film can be run 5 times. Longer films, 4, cutting out 25% of the box office potential.
People don't often consider the practical, physical limitations that could be behind our industry "standards".
I wonder whether any variations are introduced by genre.
Many moons ago, I taught a still-photo storytelling course at Santa Monica College. It was one of the last assignments in the course, and I used a four-part structure that worked well for students over the four years (eight semesters) I taught it. Simple and effective.
Introduction: Show me the who, what, when, and where.
Exposition: Show me the steps the main character takes to meet the challenge.
Conflict: The main character is forced to deal with the challenge.
Resolution: The main character succumbs or overcomes.