A recurring character or supporting character often and frequently appears from time to time during the series' run.[22] Recurring characters often play major roles in more than one episode, sometimes being the main focus.
The recurring characters are sometimes in the main conflict of a story.
[edit] Dynamic characters are those that change over the course of the story, while static characters remain the same throughout.
The difference between these two are dynamic characters are the ones who change throughout the story and static is a character which stay the same throughout the story.
An author can create a character using the basic character archetypes which are common to many cultural traditions: the father figure, mother figure, hero, and so on.
The archetype character are commonly known as for example a hero and mother or father figure.
An author or creator basing a character on a real person can use a person they know, a historical figure, a current figure who they have not met, or on themselves, with the latter being either an author-surrogate or an example of self-insertion.
Most of the time the creator or author of the character originally bases it off of people from history, people from the percent day, or even use themselves as a character.
In fiction writing, authors create dynamic characters using various methods. Sometimes characters are conjured up from imagination; in other instances, they are created by amplifying the character trait of a real person into a new fictional creation.
This is how author starts thinking of ideas for the real or fictional characters in the story.
The characters in Henrik Ibsen's Hedda Gabler (1891) and August Strindberg's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender, such that the conflicts between the characters reveal ideological conflicts.[10]
This explains the different type of characters that are interacting in the story.
Flat characters are two-dimensional, in that they are relatively uncomplicated. By contrast, round characters are complex figures with many different characteristics, that undergo development, sometimes sufficiently to surprise the reader.[17]
This describes the difference between flat character which is a less complicated and round character which are more complex than a flat character.
An author can also create a fictional character using generic stock characters, which are generally flat.
The stock character is the starting base of a character.
In literature, characters guide readers through their stories, helping them to understand plots and ponder themes.
The character sets up the plot and theme of the story.
The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made.
the meaning of making a character would be seeing how real people work or used the imagination of making a fictional character.
Dismayed by being typecast, Lamarr co-founded a new production studio and starred in its films: The Strange Woman (1946), and Dishonored Lady (1947).[6] Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949).
She was a co-founder of a production studio and shared films. The big hit that she had was this movie ( Cecil B. Demille's Samson.)
Of all the European émigrés who escaped Nazi Germany and Nazi Austria, she was one of the very few who succeeded in moving to another culture and becoming a full-fledged star herself.
When Europe escaped the Nazi's, she wanted to move on and became the few full-fledged star.
Mayer hoped she would become another Greta Garbo or Marlene Dietrich.[16]:77 According to one viewer, when her face first appeared on the screen, "everyone gasped ... Lamarr's beauty literally took one's breath away
I think that the director Mayer wanted her to become one of the characters. This one viewer describes about her beauty when she is on screen.
In early 1933, at age 18, Hedy Kiesler, still working under her maiden name, was given the lead in Gustav Machatý's film Ecstasy (Ekstase in German, Extase in Czech).
This was a working progress on this CHARACTER which she was a lead in Gustav Machaty's film.
She also helped improve aircraft aerodynamics for Howard Hughes while they dated during the war.
This is something new that I didn't know was she a part of the aircraft aerodynamics.
She became a star through her performance in Algiers (1938), her first United States film.[5]
I think that she was understanding the roles or the CHARACTER in the film.
After the Anschluss, she helped get her mother out of Austria and to the United States, where Gertrud Kiesler later became an American citizen.
When she was little girl that she and her mother were moving from Austria to the US.
Still using her maiden name of Hedy Kiesler,
I think this was a interesting fact her last name was Kiesler.
She became a star through her performance in Algiers (1938), her first United States film.[5]
Hedy Lammarr first was in the US film Algiers.