Individual skill
ozu-screenplay-style
Writing screenplays in the style of Ozu Yasujiro and Noda Kogo (小津安二郎・野田高梧) — distilled from six complete screenplays (晚春 Late Spring, 麦秋 Early Summer, 东京物语 Tokyo Story, 浮草 Floating Weeds, 秋日和 Late Autumn, 秋刀鱼之味 An Autumn Afternoon). Covers the "family member leaves" master plot, off-screen events / on-screen reactions, lie-driven plots, minimal-syllable confessions, go-between characters, faceless suitors, pillow-shot scene breaks, echoing objects, mirror characters, children's subplots as metaphor, displaced quarrels, the single-monologue rule, diminishing endings, Ozu's script format and stage-direction vocabulary. Use when the user wants to write a quiet family drama, a 小津风 / 侘寂 / 日常系 script, a story about marrying off a daughter, aging parents, or wants dialogue that says less and means more.
plugins/screenwriting/skills/ozu-screenplay-style/SKILL.md
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SKILL.mdcore · 27,941 bytesreference.mddoc · 37,571 bytes
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# 小津安二郎剧本写法(Ozu Screenplay Style)
> **输出语言=提问语言**;术语一律锚回原词,见 [sw-workflow/terms.md](../sw-workflow/terms.md),不自创译名。
本 skill 从《小津安二郎剧本集》(野田高梧+小津安二郎编剧,吴菲译)六部剧本逐场拆解中提炼:《晚春》(1949,103 场)、《麦秋》(1951,145 场)、《东京物语》(1953,176 场)、《浮草》(1959,121 场)、《秋日和》(1960,110 场)、《秋刀鱼之味》(1962,98 场)。
核心信条:**大事件全部发生在画外,剧本只写事件之前和之后的家常。** 观众看到的不是事件,而是事件在人际关系上激起的涟漪。
每部剧本的逐场结构表和原文范例见同目录 [reference.md](reference.md)。
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## 〇、媒介边界:哪几层可以搬走,哪几层不能