I spent a lovely and engaging morning in the company of several international screenwriting academics discussing teaching online thanks to being invited to this virtual Bucharest Symposium in Screenwriting and Literature by Tudor Voican, PhD, WallachiaIFF Jury President.
The invitation arrived in my email inbox and almost looked like a fake – until I saw the names of the other participants and knew them to be pretty stellar in their fields. So I said yes. We’ll meet online each Sunday for 3 Sundays to make 20 minute presentations to each other and share our knowledge.
Though I would have loved to actually fly to what Tudor calls “the legendary land of Principe Vlad III Drăculea aka Vlad the Impaler, Voivode of Wallachia” but for now I am outside on the patio using our built-in Zoom background.
Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne
Everybody’s a Writer Theorizing screenwriting as creative labour by Bridget Conor
This paper offers a theoretical agenda for a labourist analysis of screenwriting, and critically evaluates the marginal status of screenwriting within film production systems. On the one hand, screenwriting offers an exemplary case study of creative work in post-modernized film production industries, work characterized by freelancing and multivalent working patterns, insecurity and hierarchization. Investigating screenwriting as creative labour also offers unique insights into an intensely industrial vocation; this requires a highly particular theorization of the contexts and conditions of writers’ working lives.This paper draws on sociological analyses of creative production and utilizes a Foucauldian understanding of technologies of the self as this concept has been applied in the analysis of creative labour. This approach enables a critical examination of particular aspects of screenwriting labour, including the rigidity of the industrial screenplay form and its pedagogical frameworks, the standardized mechanisms of control over screenwriting labour (such as inequitable collaboration and practices of multiple authorship), and the heady mix of both creative fulfilment and punishment which characterizes this form of work.
The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice.
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