Tag: research

From The Journal Of Screenwriting V5 Issue 1: Where are you from? Place as a form of scripting in independent cinema by J. J. Murphy

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

Where are you from? Place as a form of scripting in independent cinema by J. J. Murphy
 
Large-budget Hollywood studio productions generally prefer a high level of fabrication in creating a film’s setting, either through the building of sets or through special effects, because it gives the production team greater control. Yet that’s often been less true of indie films historically. For a variety of reasons, the setting or location of independent films often becomes a central part of the scripting of a film. It is obviously cheaper to use what already exists in reality rather than to attempt to create a location through set design or art direction. Beyond issues of budget, however, my interest here is in exploring how ‘place’ can actually function as a key element in the scripting process, especially one that is rooted in visual storytelling, by taking into account the myriad ways that a film’s setting can contribute to and enhance the narrative beyond the use of generic, decorative or touristic locations. Using examples drawn from independent cinema, the article argues that place can have an intrinsic, integrative, stylistic, structural, conceptual and thematic function.

From The Journal Of Screenwriting V5 Issue 1: Where are you from? Place as a form of scripting in independent cinema by J. J. Murphy

Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Related posts:

  1. From The Journal Of Screenwriting V1 Issue 1: No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy
  2. From The Journal Of Screenwriting V4 Issue 1: expensive words, cheap images: ‘Scripting’ the adapted screenplay by Alex Munt
  3. From The Journal Of Screenwriting V2 Issue 1: An evolving present within a past a history of screenwriting practices in popular Hindi cinema by Anubha Yadav
  4. From The Journal Of Screenwriting V2 Issue 2: Escape from the stage? From play to screenplay in British cinema’s early sound period by Victoria Lowe
  5. From The Journal Of Screenwriting V10 Issue 3: Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema by Jan Henschen

A Woman Wrote That – 28 in a series – The Birdcage (1996), Witten by Elaine May

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 28 in a series - The Birdcage (1996), Witten by Elaine May

ALBERT

There’s no need to get hysterical. All I have to remember is I can always get more toast.

Related posts:

  1. A Woman Wrote That – 14 in a series – The Birdcage (1996) Wr: Elaine May
  2. A Woman Wrote That – 25 in a series – Thelma and Louise (1991), Writer, Callie Khouri
  3. A Woman Wrote That – 11 in a series – Sleepless in Seattle (1993)
  4. A Woman Wrote That – 26 in a series – Fleabag (2016), Writer, Phoebe Waller-Bridge
  5. A Woman Wrote That – 10 in a series – When Harry Met Sally (1989) by Nora Ephron

Where’s Her Movie? Scientist, Valerie Thomas – 21 In A Series

“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film.  This is our attempt to help write these women back into mainstream history.  — Rosanne

Scientist, Valerie Thomas

Valerie L. Thomas (born February 8, 1943) is an American scientist and inventor. She invented the illusion transmitter, for which she received a patent in 1980. She was responsible for developing the digital media formats image processing systems used in the early years of the Landsat program. — Wikipedia

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  1. Where’s Her Movie? Computer Scientist, Margaret Hamilton – 9 in a series
  2. Where’s Her Movie? Fashion Designer, Anne Lowe – 20 In A Series
  3. Where’s Her Movie? Actress, Maria Félix – 18 in a series
  4. Where’s Her Movie? Activist, Dolores Huerta – 17 in a series
  5. Where’s Her Movie? Educator, Salomé Ureña – 13 in a series

From The Journal Of Screenwriting V5 Issue 1: Where do cinematic ideas come from? by Adrian Martin

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

Where do cinematic ideas come from? by Adrian Martin

This essay explores the concept of a cinematic idea. How does it originate, and how can it shape, on every level, the construction of a film? Making special reference to filmmakers’ documents (as an instance of genetic criticism), the essay offers a case study of Leos Carax’s Holy Motors.

From The Journal Of Screenwriting V5 Issue 1: Where do cinematic ideas come from? by Adrian Martin

Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Related posts:

  1. From The Journal Of Screenwriting V2 Issue 2: Some attitudes and trajectories in screenwriting research by Steven Maras
  2. From The Journal Of Screenwriting V2 Issue 2: An uneven marketplace of ideas: Amateur screenwriting, the Library of Congress and the struggle for copyright by Torey Liepa
  3. From The Journal Of Screenwriting V1 Issue 2: The early screenwriting practice of Ernest Lehman by Ted Nannicelli
  4. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki
  5. From The Journal Of Screenwriting V1 Issue 1: The protagonist’s dramatic goals, wants and needs by Patrick Cattrysse

A Woman Wrote That – 27 in a series – 10 Things I Hate About You (1999) Written by Karen McCullah & Kirsten Smith

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 27 in a series - 10 Things I Hate About You (1999) Written by Karen McCullah & Kirsten Smith

KAT

But mostly I hate the way I don’t hate you. Not even close, not even a little bit, not even at all.

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  1. A Woman Wrote That – 26 in a series – Fleabag (2016), Writer, Phoebe Waller-Bridge
  2. A Woman Wrote That: “It’s A Wonderful Life”, Written by Frances Goodrich and Albert Hackett – 1 in a series
  3. A Woman Wrote That – 25 in a series – Thelma and Louise (1991), Writer, Callie Khouri
  4. A Woman Wrote That – 11 in a series – Sleepless in Seattle (1993)
  5. A Woman Wrote That – 24 in a series – National Treasure (2004), Writer, Marianne Wibberley

Where’s Her Movie? Fashion Designer, Anne Lowe – 20 In A Series

“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film.  This is our attempt to help write these women back into mainstream history.  — Rosanne

Where's Her Movie? Fashion Designer, Anne Lowe - 20 In A Series

Ann Cole Lowe (December 14, 1898 – February 25, 1981) was an American fashion designer and the first African American to become a noted fashion designer.[1] Lowe’s one-of-a-kind designs were a favorite among high society matrons from the 1920s to the 1960s. She was best known for designing the ivory silk taffeta wedding dress worn by Jacqueline Bouvier when she married John F. Kennedy in 1953 — Wikipedia

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  1. Where’s Her Movie? Activist, Mary Church Terrell – 19 in a series
  2. Where’s Her Movie? Astronomer, Margaret Harwood – 4 in a series
  3. Where’s Her Movie? Educator, Salomé Ureña – 13 in a series
  4. Where’s Her Movie? Physician/Author, Dr. Rebecca Lee Crumpler – 7 in a series
  5. Where’s Her Movie? Activist, Dolores Huerta – 17 in a series

From The Journal Of Screenwriting V4 Issue 3: The pleasure of immersion: Some thoughts on how The Singing Detective sustains narrative by Anne Karpf

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

The pleasure of immersion: Some thoughts on how The Singing Detective sustains narrative by Anne Karpf

This article argues that while Dennis Potter’s television drama series The Singing Detective is commonly celebrated for its multi-layered narrative and the post-modern way that it played with genre, another of its critical features has remained relatively neglected: the sustained narrative pleasure that it afforded. It suggests that Potter allowed viewers the deep immersive experience of realist TV drama and storytelling, even while he was experimenting with narrative, so providing a bridge between modernist and traditional forms, and rewarding viewers (who had to try and integrate the series’ different fragments and layers into some sort of quasi-cohesive narrative) with abundant dramatic gratification. Narrative, it claims, is not effaced, only displaced, partly onto the central character of Marlow, whose subjectivity unifies the fragmented narrative. Potter broke radically with the conventions of TV medical drama, and the painful experience of Marlow-as-patient acts as another binding agent.

From The Journal Of Screenwriting V4 Issue 3: The pleasure of immersion: Some thoughts on how The Singing Detective sustains narrative by Anne Karpf

Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Related posts:

  1. From The Journal Of Screenwriting V4 Issue 3: Bridges and gaps: The Singing Detective’s serial afterlife by Sean O’Sullivan
  2. From The Journal Of Screenwriting V4 Issue 3: ‘Message for Posterity’: The Singing Detective (1986) 25 years on by John R. Cook
  3. From The Journal Of Screenwriting V4 Issue 3: And the beat goes on: The continuing influence of The Singing Detective by Glen Creeber
  4. From The Journal Of Screenwriting V1 Issue 2: Time, space and movement: screenplay as oral narrative by Adam Ganz
  5. From The Journal Of Screenwriting V3 Issue 2: Development of a fundamental ’19-Sequence Model’ of screenplay and narrative film structure by Melvyn P. Heyes

A Woman Wrote That – 26 in a series – Fleabag (2016), Writer, Phoebe Waller-Bridge

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 26 in a series - Fleabag (2016), Writer, Phoebe Waller-Bridge

CLAIRE

The only person I’d run through an airport for is you.

Related posts:

  1. A Woman Wrote That – 25 in a series – Thelma and Louise (1991), Writer, Callie Khouri
  2. A Woman Wrote That – 23 in a series – Brave (2012), Writer, Brenda Chapman
  3. A Woman Wrote That – 19 in a series – You’ve Got Mail (1998), Writer: Nora Ephron
  4. A Woman Wrote That – 20 in a series – Dirty Dancing (1987), Writer, Eleanor Bergstein
  5. A Woman Wrote That – 17 in a series – Father of the Bride (1991), Writer: Nancy Meyers

Where’s Her Movie? Activist, Mary Church Terrell – 19 in a series

“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film.  This is our attempt to help write these women back into mainstream history.  — Rosanne

Where's Her Movie? Activist, Mary Church Terrell - 19 in a series

Mary Church Terrell (born Mary Eliza Church; September 23, 1863 – July 24, 1954) was one of the first African-American women to earn a college degree, and became known as a national activist for civil rights and suffrage.[1] She taught in the Latin Department at the M Street school (now known as Paul Laurence Dunbar High School)—the first African American public high school in the nation—in Washington, DC. In 1896, she was the first African-American woman in the United States to be appointed to the school board of a major city, serving in the District of Columbia until 1906. Terrell was a charter member of the National Association for the Advancement of Colored People (1909) and the Colored Women’s League of Washington (1894). She helped found the National Association of Colored Women (1896) and served as its first national president, and she was a founding member of the National Association of College Women (1910) — Wikipedia

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  1. Where’s Her Movie? Activist, Dolores Huerta – 17 in a series
  2. Where’s Her Movie? Activist, Claudette Colvin – 16 in a series
  3. Where’s Her Movie? Sculptor, Selma Burke – 15 in a series
  4. Where’s Her Movie? Civil Rights Activist, Elizabeth Peratrovich – 5 in a series
  5. Where’s Her Movie? Labor Activist, Anna LoPizzo – 8 in a series

From The Journal Of Screenwriting V4 Issue 3: Chaos, culture and fantasy: The television plays of Howard Schuman by Leah Panos

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

Chaos, culture and fantasy: The television plays of Howard Schuman by Leah Panos
 
The single plays of American ex-pat playwright Howard Schuman produced for British television between 1973 and 1983 have received little critical attention. Written in a distinctly un-British madcap, non-naturalistic and often pulpy ‘B movie’ style, they centre around caricatured, hysterical and/or camp characters and make frequent references to popular culture. This article provides a general survey of Schuman’s plays and analyses his sensibility as a screenwriter, drawing extensively on material from interviews with the writer. The article’s particular focus is how and why different cultural forms including music, film and theatre are used and referred to in Schuman’s plays, and how this conditions the plays’ narrative content and visual and aural form. It also considers the reception of Schuman’s plays and their status as non-naturalistic dramas that engage heavily with American pop culture, within the context of British drama. Finally, it explores the writer’s relationship to style and aesthetics, and considers how his written works have been enhanced through creative design decisions, comparing his directions (in one of his scripts) with the realized play to reflect on the use of key devices.

From The Journal Of Screenwriting V4 Issue 3: Chaos, culture and fantasy: The television plays of Howard Schuman by Leah Panos

Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Related posts:

  1. From The Journal Of Screenwriting V3 Issue 2: Female fantasy and postfeminist politics in Nora Ephron’s screenplays by Roberta Garrett
  2. From The Journal Of Screenwriting V4 Issue 3: And the beat goes on: The continuing influence of The Singing Detective by Glen Creeber
  3. From The Journal Of Screenwriting V1 Issue 2: Who Writes British Films: A Summary on the UKFC Report and a Call for Further Research by Susan Rogers
  4. From The Journal Of Screenwriting V2 Issue 2: Some attitudes and trajectories in screenwriting research by Steven Maras
  5. From The Journal Of Screenwriting V2 Issue 2: Lost and gone for ever? The search for early British screenplays by Jacob U. U. Jacob