1, Titanic 2, Braveheart 3, Godfather 4, Gone with the Wind 5, Roman Holiday 6, Forrest Gump 7, Hamlet 8, Schindler's List 9, The Matrix 10. Of course, the plot is also very important, at least people can understand and accept it! That's it. Based on the three discourse reference systems of drama expression, structuralist narratology and drama form, this paper divides film drama into five levels: culture-thought-character-action-detail, and then decomposes it into more elements. Through the detailed interpretation of the deep meaning of each element and the interaction between elements, the composition system of film drama elements is initially constructed, and the differences between traditional narratology and contemporary narratology are emphatically compared. Key words: traditional narratology, contemporary narratology, action plot, characters 1. Frame of reference: dramatic expression, narratology, dramatic form. The composition system of movie drama elements seems to be a very ridiculous topic. Because for pure art films, no matter Bergman, Ferini, etc. People who don't use movie scripts at all, stylized words themselves definitely lack drama elements. As far as conventional movies are concerned, the elements of the script have become a closed problem, which is nothing more than the special expression, theme, characters, plot and structure of the movie script. What's more, even if there are new excavations, this is completely the topic of a book. Can you cover it with just one piece of paper? This doubt is the reason why the author needs to construct the following three frames of reference: drama expression, structuralist narratology and film drama form. The research object of this paper is undoubtedly the script of commercial films. Because as mentioned above, trying to learn the creative method by decomposing the dramatic elements of pure art films, whether it is possible to decompose it or not, even if it is, is of little significance to creation. However, since we study the elements of commercial film scripts, the first unavoidable question is, what is a commercial film? This leads to the first frame of reference of this paper-dramatic expression. This frame of reference comes from Martin Esslin, a famous British drama theorist, who wrote The Analysis of Drama. In this book, he put forward such an interesting point: "... drama (stage play) was only a form of dramatic expression in the second half of the 20 th century, and it was a relatively minor form;" However, mechanically recorded dramas such as movies, TV dramas and radio dramas are basically dramas, no matter how different they may be technically. The principle followed is the basic psychological principle that all performance skills of drama are felt and understood. ..... "Let's first understand Martin Esslin's expression of" dramatic expression ",because this expression is at least a rare expression about the nature of movies and dramas in China at present. There are representative theory, game theory and will expression theory about the origin of drama. But fundamentally speaking, human beings invented drama only to create a concrete, artistic, audible, visible and perceptible performance, and to experience their own life form and living environment intuitively again, so as to entertain themselves, appreciate themselves, know themselves, criticize themselves and sublimate themselves. This is a meaningful form and a healthy game. Movies are still a form of "dramatic expression" of life. In other words, this "dramatic expression" is the essential attribute of commercial drama, commercial film and commercial TV series. In this way, what we need to pay attention to becomes what Martin Esslin called "all performance skills of drama"; This is also the author's first frame of reference about "dramatic expression": since commercial films can be regarded as a meaningful expression of life, or even a game, how should "all expression skills", that is, the rules of the game, be expressed? Another important reason for using this frame of reference is that the names of many elements in the element analysis of the main part of this paper come from classical drama theory. Taking this frame of reference as the theoretical premise is precisely to show that this paper does not use the methodology of drama to study movie scripts, but because they have some similar expression skills and dramatic elements in the unified concept of "dramatic expression", so the second frame of reference of this paper is structuralist narratology. If we take structuralist semiotics as the methodology and regard film as a symbol system, we need to distinguish whether we study only the signifier, only the signifier or both, whether we study narrative or the "full expression technique" of modeling. Corresponding to the study of screenplays, there are traditional narrative films and contemporary narrative films (structuralist narrative films). The former is still attached to the traditional narrative theory with characters, plots and environment as the core, lacking contemporary character and deep logic. Structuralist narrative films, on the other hand, are a stubborn development of the first semiotics, which does not solve the problem of ideographic meaning, only pays attention to the organizational structure of signifiers and completely excludes signified. Its methodological basis is the complete opposition between signifier and signified. Therefore, taking structuralist narratology as the second frame of reference means that this paper will focus on the signifier level when studying the constituent elements of drama. Of course, because of the connection of energy, which is one of the three elements of symbols, the study of signifier level will inevitably involve the corresponding signified level, and this research method is also a critical inheritance of structuralist narrative films. In this way, after completing the construction of the first two frames of reference, this paper has made it clear that the research object is the signifier level in all the performance skills of the movie script, and determined the composition system of the script elements through detailed element analysis. The third frame of reference-about the form of movie script-is obviously put forward to solve the problem of how to learn. Even though commercial films are limited to the research category, there are still great differences in their external forms among many texts. Therefore, it is a complete theoretical discourse to construct a drama system with drama form as the latitude and drama elements as the classics through the classification of foreign drama forms. The author divides the external forms of movie scripts into two categories: unitary and pluralistic. The form of unit drama can be divided into external action and character relationship. However, although diverse drama forms are complex, they are often formed by the parallel or linear connection of single drama forms. For example, the form of character experiential drama is often a linear connection between a series of characters or external actions; Movies that show the psychology of characters in a staggered way of time and space, although seemingly scattered and irregular in external form, are actually unitary in each time and space paragraph itself, only interspersed with clues of chronological order, reverse order or stream of consciousness. Other films, such as epic films, scattered perspective films and other films with various structural forms, are all composed of these two basic unit forms in form as long as they are carefully analyzed. In the theoretical discourse to be constructed by the author, all the elements of drama will exist in an interactive system, and the two basic forms of drama-external actions and the relationship between characters-will also have the same dramatic element system, which is called C-I-C-A-D system for short.