Actuality
in docudrama, 172
Adaptation
Aftermath, 93
Age, 143
L’Age d’Or (Buñuel), 117
Aguirre: The Wrath of God (Herzog), 188, 191
Alien 3, 102
All About Eve (Mankiewicz), 153, 154
All Boys are Called Patrick (Godard), 3
All That’s Left: Speculations on a Lost Life (Hurbis-Cherrier)
All the President’s Men, 56, 115
comedy and, 81
Andersen, Hans Christian, 198
Anderson, Lindsay, 3, 171, 198
Anderson, Paul Thomas, 162
Anecdotes
Annaud, Jean-Jacques, 117
Annie Hall (Allen), 11
Another Story (Shapiro), 42–43, 200, 257, 259–269
narration in, 146
Ansty, Edgar, 2
Antagonist. See also Characters
definition of, 48
dramatic action of, 54
hyperdrama case studies in, 201–202
as motif in docudrama, 175, 177
as motif in experimental narrative, 211, 213
as motif in hyperdrama, 193, 195
as motif in melodrama, 158, 159
polarized characters and, 91
Antonioni, Michaelangelo, 207, 208
Archetypes, 136
catalysts and, 137
Around the Time (Bertelson), 184
The Art of Fiction, 59
Aspects of the Novel (Forster), 9, 127
Author’s voice
Autumn Moon (Law), 212–214, 215
Autumn Sonata (Bergman), 156
“Bad” (Jackson)
music video for, 223
Bailey, George, 192
Bastard Out of Carolina (Huston), 157
Battle at Elderbrush Gulch, 1
The Bear, 117
The Beatles, 207
Beauty and the Beast (Cocteau), 19–20, 76
Before the Rain (Manchevski), 216
Beginnings
Behavioral characteristics, 132–133
repetition as, 136
Behavioral polarity, 120
Believability
Benton, Robert, 154
Bergman, Ingmar, 120, 156, 200
Bertelson, Phil, 184
Bertolucci, Bernardo, 208
Besfamilny, Helen, 183
The Best of Intentions, 120
Bierce, Ambrose, 92
The Big Sleep, 41
comedy in, 81
Bird, Antonia, 158
Blackmail (Hitchcock), 103
Blaise, Clark, 94
Bonnie and Clyde, 37
Boogie Nights (Anderson), 162
Boorman, John, 189, 190, 192, 198
Borden, Lizzie, 117
Bowery Boys, 1
The Boys of St. Vincent (Smith), 157
Brakhage, Stan, 2
Breaking Away (Yates), 154, 155, 156
Breaking the Waves (Von Trier), 172, 188, 191
Bresson, Robert, 62
on sound, 29
Brest, Martin, 3
Brighton Blues (Besfamilny), 183
Brittania Hospital (Mercer), 117
Brothers Grimm, 198
Brown, Jeffrey D., 11
Buñuel, Luis, 2, 117, 187, 188, 207
Butch Cassidy and the Sundance Kid, 37, 56
Butcher Boy (Jordan), 188
Calendar (Egoyan), 206
Calvino, Italo
on storytelling, 15
Camelot (Logan), 198
Cameron, James, 153
Camille Claudel (Nuytten), 173
Campion, Jane, 206
The Candidate (Ritchie), 171
Capra, Frank, 192
Carver, Raymond, 92
Cat People (Tourneur), 31
archetypes and, 137
in hyperdrama, 199
identifying, 53
as motif in docudrama, 175–176, 177
as motif in experimental narrative, 211, 213
as motif in hyperdrama, 193, 195
as motif in melodrama, 158, 159
“Cathedral” (Carver), 92
Cavalcanti, Alberto, 4
Celebration (Vinterberg), 172
Chabrol, Claude, 4
Chandler, Raymond on screenwriting, 22, 70
Character (Van Diem), 158, 172
Character qualities, 90
Characterization strategies
physical, 132
in short film, 127
singular qualities, 133
tragedy in, 138
Characters, 5. See also Antagonist; Main Character; Protagonist; Secondary Characters
abstraction of, in experimental narrative, 208–209
describing, 43
dialogue and, 143
docudrama case studies in, 182–183
in dramatic strategies, 121
experimental narrative case studies in, 216–218
finding, 44
flat, 127
habitual behavior and, 37–39, 60
hyperdrama case studies in, 201
intentional/energized, 133
interactions, 45
melodrama case studies in, 166–167
polarity, 91
qualities of, 90
rounded, 127
singular qualities of, 133
tragic, 138
Chayevsky, Paddy, 117
Chicago Hope (television), 154
Un Chien d’Andalou (Buñuel and Dali), 2, 205
A Children’s Story (Justice), 153, 154–155
Chungking Express (Wong Kar-Wai), 207, 209
Citizen Kane, 144
comedy in, 81
The Class of ‘75 (Dancyger), 32
Clement-Ferrand Festival, 3
Climax
A Clockwork Orange (Kubrick), 130, 188, 191
Close-ups, 104
Columbus, Chris, 3
Commercials
short film and, 230
Communication, 89
The Company of Wolves (Jordan), 189
Complexity
Conflict
Contemporary issues
Copenhagen (Frayn), 153
Coppola, Francis Ford, 102
Craig, Laurie, 14
Creative solutions
Cries and Whispers (Bergman), 26
Crimes and Misdemeanors (Allen), 162
The Criminal Mind of Archibald Cruz (Buñuel), 188
The Crying Game (Jordan), 102
Culloden (Watkin), 173
Cuts
Dali, Salvador, 2, 117, 205, 207
Dallas (television), 225
Dancyger, Ken, 32
Dangerous Liaisons (Hampton), 28
Dante, 208
Dash, Julie, 206
Daughters of the Dust (Dash), 206
David Holzman’s Diary, 115
Davies, Terence, 206
Dead Letters Don’t Die (Granofsky and Swanhaus), 45, 201–202, 257, 323–343
Dead of Night, 4
Deardon, Basil, 4
Death of a Princess, 174
Demme, Jonathan, 224
Deren, Maya, 2
Dialect, 143
Dialogue
characterization and, 142, 143
cutting, 83
intensifying tension with, 145
realism and, 148
relieving tension with, 146
revising, 74
in short film, 141
as transition, 144
Digital video, 225
Direct cinema, 171
Disney, Walt, 2
Distant Voices, Still Lives (Davies), 206
Divine Comedy (Dante), 208
Docudrama, 114
actuality in, 172
character case study in, 182–183
contemporary issues in, 174
definition of, 115
goals in, 179
main character in, 173
main character in short film, 181
main character’s relation to plot in, 180
place case studies in, 183
plot in short film, 181
structure of, in short film, 182
style in short film, 181
time case study in, 184
tone of, in short film, 182
Documentary
The Double Life of Veronique (Kieslowski), 206, 209
Dovschenko, Alexander, 205, 208
Dr. Strangelove (Kubrick), 117
Dr. Zhivago (Lean), 157
Drafts
Drama
Dramatic action
Dramatic arc
as motif in docudrama, 176, 177–178
as motif in experimental narrative, 211, 213–214
Dramatic strategies
character in, 121
climaxes in, 124
creative solutions in, 124–135
endings in, 124
energy in, 125
insight in, 125
middle in, 124
plot points in, 123
voice in, 119
Dramatic strategy
A Dry White Season (Palcy), 154
Duck Soup (Marx Brothers), 187
Duvall, Robert, 131
Earth (Dovschenko), 205
East of Eden (Kazan), 156
Eclipse (Ruscio) tone case studies on, 218
Education, 225
Edward Munch (Watkins), 173
Egoyan, Atom, 163, 206, 207, 209, 231
Elder, Bruce, 3
Elliot, Ayanna, 167
Embrechts, Gert, 227, 233, 235
Empire of the Moon (Haptas and Samuelson)
place case studies in, 217
Encyclopedia Britannica, 63
Ending
Enemies: A Love Story (Mazursky), 156
Energized characters, 133
Energy
in dramatic strategy, 125
The English Patient, 154
Escape from Alcatraz (Siegel), 62
Eszterhas, Joe, 132
E.T. (Spielberg), 188
Everyday Except Christmas (Anderson), 171
Excalibur (Boorman), 189, 190, 192, 198
Exotica (Egoyan), 163, 207, 208, 209, 216, 231
Experimental film short film and, 229–230
Experimental narrative
character abstraction in, 208–209
character case studies in, 216–217
definition of, 205
intellectual concepts in, 208
linkages to other arts in, 207–208
nonlinearity in, 206
patterns in, 209
place case studies in, 217
poetry and, 215
ritualized tone in, 209
simple ideas behind, 215
story types benefiting from, 214–215
structure case studies in, 217–218
structure in, 216
tone and voice in, 216
tone case studies in, 218
Exposition
Exterior narration, 147
Extreme long shots, 104
Fable, 114, 229. See also Fairy tales; Myths
The Fabulous Baker Boys (Klove), 156
Fairy tales, 10–11. See also Fables; Myths
“Fall guy” idiom, 98
Fantasy
Feedback
Feeling, 13
Fellini, Federico, 3
Ferguson, Larry, 102
A Few Good Men (Reiner), 102
Film
character positioning in, 129
first-person positioning in, 129
inherent qualities of, 102–103
First drafts
First Knight (Zucker), 198
First-person positioning, 128
in film, 129
Flaherty, Robert, 171
Flat characters, 127
Fleming, Victor, 189
For Whom the Bell Tolls, 174
Ford, John, 157
Formalism
in hyperdrama, 191
Forman, Milos, 156
Forrest Gump (Zemeckis), 188, 190, 199
moral lessons in, 188
Forsythe, Frederick, 94
Four Little Girls (Lee), 224
Framing
Frayn, Michael, 153
Gangster film, 114
Gender, 143
Genesis and Catastrophe (Liebesman), 227
framing and, 114
Get On the Bus (Lee), 224
Giler, David, 102
Goals, 91
character, in docudrama, 179
in hyperdrama, 197
as motif in docudrama, 175, 177
as motif in experimental narrative, 210, 212–213
as motif in hyperdrama, 193, 195
as motif in melodrama, 158, 159
in short film hyperdrama, 200
Goffman, Ervin, 43
Going to Work in the Morning from Brooklyn (Messina), 11–12
Goldenberg, Matthew, 83, 226, 233, 241
Goldman, William
on screenwriting, 56
Granofsky, Anais, 201, 202, 257, 323
Griffith, D.W., 1
Grimm’s Fairy Tales, 63
Guest, Judith, 153
Habitual behavior character and, 37–39, 60
Haptas, John, 217
Harwood, Ronald
on screenwriting, 32
Hemingway, Earnest, 91
High Noon, 31
Hill, Walter, 102
Hitchcock, Alfred, 103
Hochschule, 3
Hoffa (Mamet), 102
Holland, Agnieszka, 102
Hopkins, Anthony, 132
Horror film, 114
“The Hospital” (Chayevsky), 117
How Green Was My Valley (Ford), 157
Howard’s End, 102
Huffman, Michael, 165
Hurbis-Cherrier, Katharine, 217
Hurbis-Cherrier, Mick, 217
Huston, Angelica, 157
Hyperdrama
antagonist case study in, 201
catalysts in, 199
character case study in, 201
contemporary issues in, 192
definition of, 187
fairy tales and, 198
fantasy in, 191
formalism in, 191
goals in, 197
goals in short film, 200
main character in short film, 200
moral lesson’s centrality in, 188–189
plot in short film, 200
realism in, 189
structure in short film, 200–201
style in short film, 200
tone in short film, 201
Idioms
Images
Incident at Owl Creek (Enrico), 20, 22, 48, 127, 131
Insight
in dramatic strategy, 125
Intellectual concepts
in experimental narrative, 208
Intentional characters, 133
Interactions
Interviews
It’s a Wonderful Life, 192
It’s Not Just You, Murray (Scorsese), 3
I’ve Heard the Mermaids Singing (Rozema), 206
Ivory, James, 102
Jackson, Michael, 223
Jokes
Journey structure, 114
Judith of Bethulia, 1
Julius Caesar, 118
Justice, Graham, 153, 154, 167
Juxtaposition, 103
on character, 128
Kershner, Irvin, 156
Khouri, Callie, 37
Kieslowski, Krystof, 206
Kill the Director (Mandel), 184–185
Klove, Steve, 156
Kopple, Barbara, 3
Kramer vs. Kramer (Benton), 154
Kubrick, Stanley, 117, 188, 191
Kusturica, Emir, 188
The Lady in Waiting (Taylor), 41–42, 67, 165, 166, 257, 271–276
Land and Freedom (Loach), 174, 175, 179
Langer, Susanne, 13
Last Supper (Boxer), 226
Lauzon, Jean Claude, 189
Lawrence of Arabia (Lean), 157
Lean, David, 157
Leaving Las Vegas, 161
Lee, Spike, 102, 163, 223, 224
Legend (Scott), 191
Leolo (Lauzon), 189
Letter writing, 75
Liebesman, Jonathan, 227
The Lion King, 189
Little Red Riding Hood, 108
Loach, Ken, 172, 174, 175, 179
Location, 34
Lodge, David, 59
Logan, Joshua, 198
The Loneliness of the Long Distance Runner (Richardson), 156, 173
Long film
Long shots, 104
Lorentz, Pare, 2
Lorenzo’s Oil (Miller), 101, 155
Loving (Kershner), 156
Macbeth, 118
Mad Max (Miller), 198
Magnolia (Anderson), 231
Mailer, Matt, 182
Main character. See also Characters; Protagonist
definition of, 105
in docudrama, 173
as motif in docudrama, 175, 177
as motif in experimental
as motif in hyperdrama, 192–193, 195
as motif in melodrama, 158, 159
narration by, 130
plot and, in docudrama, 180
plot used against goals of, 161–162
positioning of, 129
secondary characters and, 130–131
in short film hyperdrama, 200
in short film melodrama, 164
struggle of, in melodrama, 155
Main conflict definition of, 48
Makiewicz, Joseph, 153
Malamud, Bernard on first drafts, 79
Malcolm X (Lee), 102
idioms in, 98
Mamet, David, 102
A Man Escapes (Bresson), 62
Man of Aran (Flaherty), 171
Man With a Movie Camera (Vertov), 171, 205
Manchevski, Milcho, 216
Mandel, Geoffrey, 184
Marathon Man, 56
Marat/Sade (Brook), 208
Martinez-Zaldivar, Juan Carlos, 200, 202
Marx Brothers, 187
Master scene format, 107
Mazursky, Paul, 156
McKelwee, Ross, 3
McLaren, Norman, 3, 118, 121, 205
McLean, Norman, 102
Medium Cool (Wexler), 171
Melodrama, 114
character case studies in, 166
comedy and, 81
contemporary issues explored in, 156–157
definition of, 153
main character in, 155
as multi-genre, 157
objectives in, 160
plot case studies in, 167
psychology explored in, 156
relationships as story elements in, 154–155
structure case studies in, 166–167
structure in, 163
triangulation in, 161
Mercer, David, 117
Merchant, Ismail, 102
Meshes in the Afternoon (Deren), 206
Messina, Philip, 11
Metaphor, 229
Middle
in dramatic strategy, 124
Miller, Arthur, 153
Miller, George, 101, 155–156, 198
Miller, Rebecca, 4
Minghella, Anthony, 154
The Mirror (Tartovsky), 206
Mix, Tom, 11
Mockumentary, 114
Modern Times (Chaplin), 11, 187
Momma Don’t Allow (Reisz and Richardson), 171
The Money Shot (Mailer), 182–183
Morahan, Christopher, 156
Morality tale, 114
Morris, Errol, 117
Motifs
Mulligan, Robert, 154
The Mummy, 225
Music Box (Eszterhas), 132
My Name is Rabbit (Rosthal), 153
character in, 166
My Own Private Idaho (Van Sant), 160
Mythology (LaRousse), 63
Myths, 10–11. See also Fables; Fairy tales
Nanook of the North (Flaherty), 171
Narration
Narrative design, 114
overdeveloping, 138
Narrative shape
Narrative style
The Nasty Girl (Verhoeven), 117
Natural Born Killers (Stone), 182–183, 207, 209, 231
The Navigator (Ward), 214
Neighbors (McLaren), 118
dramatic core of, 121
Neruda, Pablo, 217
Network (Chayevsky), 117
Nichols, Mike, 155
Night and Fog (Resnais), 3
Noir, 114
Nonlinear film
Nonlinearity
in experimental narrative, 206
Notes on the Cinematographer (Bresson), 29
Nuytten, Bruno, 173
O Dreamland! (Anderson), 3
O Lucky Man (Anderson), 198
Oberhausen Festival, 3
Objectives
“An Occurrence at Owl Creek Bridge” (Bierce), 92
“Ode to a Bar of Soap” (Neruda), 217
“Ode to the Spoon” (Neruda), 217
“Ode to the Table” (Neruda), 217
“Ode to Things” (Neruda), 217
Once Were Warriors (Tamahori), 154
One Day in the Life of Ivan Denisovich screenplay for, 32–34
One Flew Over the Cuckoo’s Nest (Forman), 156
Ordinary People (Guest), 153
Orlando (Potter), 206
Osborne, John, 130
Overdeveloping narratives, 138
Palcy, Euzhan, 154
Paper Mask (Morahan), 156
Passage (Cooper) sound in, 29–31
The Passenger (Antonioni), 207, 208, 209
Periodical articles
Persona (Bergman), 26
Personal Velocity (Miller), 4
Physical characteristics, 132
Physical polarity, 120
Pigeon (Green), 101, 233, 249–255
Place
A Place in the Sun (Stevens), 154, 155
Plot
docudrama case studies in, 183–184
fantasy v. realism in, 94
hyperdrama case study in, 202–203
main character and, in docudrama, 180
main character’s goal and, 161–62
melodrama case studies in, 167
in short film hyperdrama, 200
in short film melodrama, 164–165
storytelling strategies, 92–93
structure of, in hyperdrama, 190–191
twists, 106
Plot points
in dramatic strategy, 123
Plot qualities, 90
Pocketful of Stones (Weissman)
tone in, 168
Poetry
experimental narrative and, 215
Polarity
Poor Cow (Loach), 174
Positioning
Potter, Sally, 206
Power structure, 155
Priest (Bird)
Protagonist. See also Characters; Main character
Psyche, 48
Psychology
Realism, 137
Recognition
The Red Balloon (Lamorisse), 21–22, 22–23, 48
Redford, Robert, 102
Reed, Carol, 157
Relationships
Repetitive behavior, 136
Research
Resolution, 93
Reversal
Revision
Richardson, Tony, 156, 171, 173
Riefenstahl, Leni, 171
Riff Raff (Loach), 174
Rising level of action
Ritchie, Michael, 171
Ritual
Ritual occasion structure, 114
River of Things (Hurbis-Cherrier), 217
A River Runs Through It (Redford), 102
Rohmer, Eric, 117
Rounded characters, 127
The Round-up (Jansco), 206, 209
Rozema, Patricia, 206
The Running Jumping and Standing Still Film (Lester), 3
Ruscio, Jason, 218
Samuelson, Kristine, 217
Satire, 114
Saturday Night and Sunday Morning (Reisz), 173
Satyricon (Fellini), 188, 208, 209
Saving Private Ryan (Spielberg), 174
Scene
definition of, 106
Schlesinger, John, 228
Scott, Ridley, 191
Screenwriting, 5
changes in, 74
first drafts, 78
Goldman, William, on, 56
Harwood, Ronald, on, 32
Malamud, Bernard, on, 79
Scripts
Second draft
Secondary characters. See also Characters
Second-person positioning, 128
Seconds (Frankenheimer), 189, 192
Secret Santa (Huffman), 165
Sennet, Mack, 1
Septuri, Adisa Lasana, 122, 132
The Seventh Seal, 200
Sex, Lies, and Videotape (Soderbergh), 160, 161
Shapiro, Lisa Wood, 42, 146, 200, 257, 259
The Sheltering Sky (Bertolucci), 208
She’s Gotta Have It (Lee), 163
Shine, 154
Short film
characterization strategies in, 127
commercials and, 230
dialog in, 141
experimental film and, 229–230
importance of, 228
main character in, melodrama, 164
melodrama case studies in, 165–168
new directions in, 232
structure in, melodrama, 164
tone in, melodrama, 165
Short story, 5
Shots, 104
Shyamalan, M. Night, 3
Siegel, Don, 62
Silence
Silence of the Lambs, 132
Sink or Swim (Friedrich), 206, 208, 209
6 in Paris, 4
Slavens, Michael, 83, 226, 233, 241
Sleeping Beauties (Kusuma), 13, 257, 297–307
Smith, John, 157
Snow, Michael, 2
“The Snows of Kilimanjaro” (Hemingway), 91, 92
Sob Story (Goldenberg and Slavens), 83, 226, 233, 241–248
Soderbergh, Steven, 160
Solondz, Tod, 157
Sorkin, Aaron, 102
Sound
Sound design
visual design and, 109
Sound images
using, 35
Southern, Terry, 117
Spiderman, 225
Stanislavski, Konstantin, 43, 128
The Stars Look Down (Reed), 157
Stevens, George, 154
The Story of Red Rose (Martinez-Zaldivar), 200, 202
Story outlines
Storytelling
Calvino, Italo, on, 15
idioms in, 98
main character positioning in, 129
periodical articles as source for, 95–96
strategies for, 90
Strange Case of Balthazar Hyppolite (Spigland), 183–184
A Streetcar Named Desire, 39
Structure
definition of, 106
in experimental narrative, 216
experimental narrative case studies in, 217
finding, 55
in melodrama, 163
melodrama case studies in, 166–167
in short film hyperdrama, 200–201
in short film melodrama, 164
The Sun Also Rises, 174
Superheroes
Surprises
Swanhaus, Michael, 201, 202, 257, 323
Sweetie (Campion), 206
The Sword of Lancelot (Wilde), 198
Synopsis, 60
Tamahori, Lee, 154
Taylor, Christian, 41–42, 166, 167, 257, 271–296
Technology, 225
Tel Aviv Film Festival, 3
Tension
Terminus (Schlesinger), 228
Thelma and Louise (Khouri), 37, 44
They Drive by Night, 37
Third drafts
working towards, 84
Third-person positioning, 128
of main character, 129
13 Conversations About One Thing, 231
This is Spinal Tap, 115
Thriller (Jackson), 223
Time
The Tin Drum (Schlondorff), 188, 192
To Kill A Mockingbird (Mulligan), 154
Toby Dammit (Fellini), 3
Tom Jones, 130
Tone
docudrama case study in, 184–185
in experimental narrative, 216
experimental narrative case
studies in, 218
hyperdrama case study in, 202–203
melodrama case studies in, 167–168
as motif in docudrama, 176–177, 178
as motif in experimental narrative, 212, 214
as motif in hyperdrama, 194–195, 196
as motif in melodrama, 159, 160
ritualized, in experimental narrative, 209
in short film hyperdrama, 201
in short film melodrama, 165
“Tortoise and the Hare,” 91, 92
Tough (Elliot), 167
Tourneur, Jacques, 31
Tragedy
in characterization, 138
Transition
dialogue as, 144
Triangulation
in melodrama, 161
Triumph of the Will (Riefenstahl), 171
Truly, Madly, Deeply (Minghella), 154, 155, 161
The Truman Show (Weir), 160, 161
Twain, Mark, 97
Twists
definition of, 106
Two Men and a Wardrobe (Polanski), 3, 21, 228
Types, 136
Underground (Kusturica), 188, 190
Unforgiven (Eastwood), 11, 102
comedy in, 81
Updike, John, 94
Van der Rohe, Mies, 34
Van Dyke, Willard, 2
Van Sant, Gus, 160
Verhoeven, Michael, 117
“The View from Here” (Septuri), 122–123, 132
A View From the Bridge (Miller), 153
Vincent (Embrechts), 227, 233, 235–240
Vinterberg, Thomas, 172
Visual design
sound design and, 109
Visual detail, 103
Visualization
Voice
of author in docudrama, 174–175
of author in experimental narrative, 209–210
of author in hyperdrama, 191–192
in dramatic strategy, 119
in experimental narrative, 216
Von Trier, Lars, 172, 188, 191
Vonnegut, Kurt, 117
The Waiters (Webb), 109
Waiting, 108
Wanting, 108
The War Game, 115
Ward, Vincent, 214
Watching, 108
“Watching, waiting, wanting,” 108
Webb, Ken, 109
Wednesday’s Child (Loach), 172
Weir, Peter, 160
Weissman, Emily, 168
West Wing (television), 225
Westerns, 102
Wexler, Haskell, 171
Wieland, Joyce, 2
Wilde, Cornel, 198
Wilde, Oscar, 43
on life, 76
The Wizard of Oz (Fleming), 189, 191
Wong Kar-Wai, Won, 207
Working Girl (Nichols), 155
The Wounding (Emerling), 257, 308–322
Working Girls (Borden), 117
Wright, Basil, 2
Writing devices
Zemeckis, Robert, 188
Zucker, David, 198
Zweig, Paul, 9