Writing plays and screenplays in the Chekhovian mode (契诃夫戏剧法) — distilled from the complete plays (没有父亲的人/普拉东诺夫, 伊凡诺夫, 林妖→万尼亚舅舅, 海鸥, 三姊妹, 樱桃园, nine one-acts) plus Chekhov's own letters, Stanislavsky's and Nemirovich-Danchenko's rehearsal notes and 焦菊隐/童道明 criticism. Covers the four-act mood-based structure without central climax, off-stage events, "correct answer stated in Act 1 and refused", the announced event that never happens, three-layer endings (hope monologue + nihilist line + household action), no-villain conflict with environment, every character's object and catchphrase, one-way love chains, half-step-off dialogue, philosophy cut by thirst, the shortest words for the deepest pain, stage-direction and sound discipline, and how Chekhov revised The Wood Demon into Uncle Vanya. Use when the user wants an ensemble drama, a "nothing happens" play, subtext-heavy dialogue, a family estate / provincial story, an anti-climactic structure, or asks how to "Chekhov-ize" a script.
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.
Case studies of American screenwriting (美国电影剧作案例) — Mei Feng's readings of the Hollywood Western (value pairs, standard flow, four oppositions), screwball comedy (social identity, strong heroine, father figure, motive shifts, buddy vs adversary two-hander, dialogue), Billy Wilder (disguise, Lubitsch touch, meet-cute, realism), Hitchcock and his writers (adaptation authorship, credits), Adaptation (Kaufman/McKee), Mildred Pierce (eight drafts, woman's film + noir), Thelma & Louise ("but" method, mirror pair), Fargo (character first, Coen method), Good Will Hunting (five-part structure, director's cuts), American Beauty (POV strategy, quasi-multi-protagonist, genre mix, red discipline), Eternal Sunshine (1:5:1, image motifs, single sealed protagonist); Walter's American Graffiti and Creature Comforts; the Hollywood masterclass films (Bourne, Guardians, Zootopia, Thor, Big Daddy); Hoxter's Winter's Bone and Jojo Rabbit; Snyder's Miss Congeniality; Field's Chinatown. Use when you want a worked example of how a sp
