Relevant bibliographies by topics / Film script

Academic literature on the topic 'Film script'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Film script"

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Admaja, Yoan Hadi Kusuma, and Anisya Sonita. "Multimedia development life cycle method for script making in the film kultur." Borobudur Informatics Review 2, no. 1 (August 29, 2022): 36–46. http://dx.doi.org/10.31603/binr.6139.

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The technique of making scripts in cultural films is a written work that aims to explain how important scripts are in filmmaking, where the script is the foundation for the formation of the film itself, besides that the writer also provides an explanation of the procedures for writing film scripts, starting from the beginning of the story idea to the formation of a script that can be adopted into a film, here the writer raises the theme of culture which is interpreted as culture, and the culture that is adopted here is the Bengkulu culture which is in such a way that it is almost extinct or obsolete, not only Introducing the importance and procedures for writing scripts, the author also educates a film entitled culture for the entire community, especially the Bengkulu people, with the aim of rebuilding the spirit of preserving the diversity of Bengkulu cultures which are almost extinct and obsolete.
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Foster, Kieran. "Repurposing the Archive: Unmade Films, Vampirella and Adaptation." Journal of British Cinema and Television 19, no. 4 (October 2022): 518–35. http://dx.doi.org/10.3366/jbctv.2022.0645.

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The Hammer Script Archive is held at De Montfort University in Leicester and was opened to researchers in 2012. Primary materials held in the Archive include screenplays, treatments, financial documentation, correspondence, posters, production stills and press books. This article will utilise specifically the material held in the Archive that relates to Hammer’s unmade films. The archive currently holds files on exactly 100 unmade television and film projects, with 185 separate pieces of ephemera directly related to these unmade works. This article examines how archival materials on unmade or unreleased films not only provide valuable evidence for revisionist film histories but can also be repurposed as events and media that imaginatively reconstitute unrealised projects. While archives are valued by film historians for the contextual evidence that they provide, and are often the only sources of information about films that are lost, when it comes to films that never were, they hold potential beyond the circumstantial. Unmade films have also been used to frustrate and complicate existing methodologies. But here, papers on unmade films in the Hammer Script Archive provide the point of departure for an examination of the unproduced project Vampirella, which was developed in the mid-1970s, and its subsequent adaptation as a script read live in 2019. As such, documentation in the Archive will be used to provide the production contexts for the original unmade film from which the script was adapted, and then studied to see how these primary materials were repurposed in the subsequent publicly read script. By examining this public event and two other live readings of scripts adapted from unmade Hammer projects, this article will explore the appeal and cultural function of this phenomenon. In doing so it will pose questions about the scripts’ status as adaptations (part-augmentations, part-simulacra?) and fan response (nostalgia for that which never was). What can the film historian recover from such creative plundering of the archive that might be useful methodologically?
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Korshunov, Vsevolod Vyacheslavovich, and Vsevolod Vyacheslavovich Korshunov. "A Film as an "Unfinished Script": theProblem of Composition." Journal of Flm Arts and Film Studies 2, no. 4 (December 15, 2010): 112–28. http://dx.doi.org/10.17816/vgik24112-128.

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There is an interesting tendency in the cinema of the 21st century first decade. We see the appearance of films based on the modification of the "film about film" theme which can be tentatively defined as "a film as an unfinished scriptn. The film's subject is the process of its creation. There are five particularly obvious examples: "Adaptation" (Spike Jonze, 2002), "A Movie about the Movies" (V. Rubinchik, 2002), "Reconstruction" (Chrisofler Вое, 2003), "Waiter" (Alex van Warmerdam, 2006) and "Stranger than Fiction" (M. Forster, 2006). The article investigates the peculiarities of these films' composition, the principles of the plot and attempts to understand the sources of this phenomenon in the cinema of the recent years.
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Małgorzata Hendrykowska, Małgorzata Hendrykowska. "Ważyk – Ford – Starski. Historia pewnego scenariusza." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 35–61. http://dx.doi.org/10.14746/i.2019.35.02.

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The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.
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Grayston, K. "Book Reviews : Imaginative Film Script." Expository Times 109, no. 8 (May 1998): 245. http://dx.doi.org/10.1177/001452469810900809.

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Henschen, Jan. "Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema." Journal of Screenwriting 10, no. 3 (September 1, 2019): 247–59. http://dx.doi.org/10.1386/josc_00002_1.

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A case study on Urban Gad’s German shooting script for Die Filmprimadonna (The Film Primadonna, 1913) reviews the screenplay in the production process shortly after the emergence of multiple-reel feature films. In the dramatic story of the rise and fall of a film prima donna, a fictitious screenplay plays an idiosyncratic function in filmmaking that sketches, for the cinematic audience of that time, a specific idea of how and why an appropriate script has to be made. The article offers an analysis of Gad’s preserved script and demonstrates that this screen-idea contrasts with the value and agency of screenplays in the historic mode of production in 1913. Inasmuch as the plot of the movie simply highlights the function of acting, Die Filmprimadonna as a script itself functions as a complex and highly composed agent in the process of filmmaking ‐ as both a narrative and, equally, a production schedule for the film.
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Wibowo, Ridha Mashudi, and Rudi Ekasiswanto. "Penulisan Naskah Film Pendek Komunitas Saba Eksploit SMAN I Bantul, DIY." Bakti Budaya 5, no. 2 (October 31, 2022): 216–29. http://dx.doi.org/10.22146/bakti.5604.

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The Official Selection World Cinema Amsterdam Award in 2019, given to the film "Tilik" opened the public's eyes to the fact that even a short film can convey a moral message as powerfully as a feature-length film. It does not matter that short films have more limitations than long ones. This phenomenon encourages short film script writing assistance as a community service activity. Saba Exploit (SE) SMAN 1 Bantul DIY was designated as the target for assistance because of its potential and impressive track record in making short films. Given the uneven transmission of knowledge and skills between generations, assistance is needed so that they have collective quality skills and skills, standardized guidelines for writing film scripts, and complete documentation so they can be developed across generations. Mentoring activities present speakers who present material presentations, best practices, and evaluations of films made by SE. The post-assistance evaluation stated that the curiosity of the SE community was accomplished. Hereafter, it was hoped that SE's hard skills, soft skills, and insights in creating short films would earn higher quality based on solid, focused, and expressive film script writing. ==== Penghargaan Official Selection World Cinema Amsterdam pada 2019 yang diberikan kepada film “Tilik” membuka mata masyarakat bahwa film pendek pun bisa menyampaikan pesan moral yang sama kuatnya dengan film panjang. Hal tersebut dapat terjadi padahal film pendek memiliki lebih banyak keterbatasan. Fenomena tersebut mendorong pendampingan penulisan naskah film pendek sebagai kegiatan pengabdian kepada masyarakat. Saba Eksploit (SE) SMAN 1 Bantul DIY ditetapkan sebagai sasaran pendampingan karena potensi dan rekam jejak mengesankan dalam pembuatan film pendek. Mengingat pewarisan pengetahuan dan keterampilan yang tak mulus antargenerasi, diperlukan pendampingan agar mereka memiliki kemampuan dan keterampilan kolektif berkualitas, pedoman penulisan naskah film terstandarkan, serta dokumentasi lengkap agar dapat dikembangkan secara lintasgenerasi. Kegiatan pendampingan menghadirkan narasumber yang menyajikan presentasi materi, best practice, dan evaluasi atas film-film buatan SE. Evaluasi pascapendampingan menyatakan bahwa keingintahuan komunitas SE terpenuhi, sehingga diharapkan kemampuan keras, kemampuan lunak, dan wawasan SE terhadap pembuatan film pendek makin berkualitas didasarkan atas penulisan naskah film yang padat, terfokus, dan ekspresif.
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Liutianska, N. I. "FILM SCRIPT IN THE ASPECT OF FILM TRANSLATION." Тrаnscarpathian Philological Studies 2, no. 23 (2022): 188–91. http://dx.doi.org/10.32782/tps2663-4880/2022.23.2.37.

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Michalovič, Michal. "The Miraculous Virgin: Journey from Novella to Shooting Script." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 52–66. http://dx.doi.org/10.2478/sd-2018-0004.

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Abstract Dominik Tatarka’s novella The Miraculous Virgin was first published in 1944. Twenty years later a second edition (revised by the author) was published and at approximately the same time Tatarka wrote a literary script for an intended film based on his novella. Director Štefan Uher (who had previously directed three feature films – Class Nine A, The Sun in a Net and The Organ) undertook the film adaptation. He wrote the shooting script based on Tatarka’s literary script and in 1966 he directed the movie The Miraculous Virgin. In the present study the author analyses the evolution of the text from one version to another. Tatarka’s modifications to the text and Uher’s subsequent changes are being analysed. The readers – and future audience of the film – had at their disposal four literary versions of The Miraculous Virgin: two editions of the novella, a film treatment by Tatarka (published in two issues of the Slovenské pohľady magazine in 1964) and a so-called literary script (published in 1966). Therefore we can talk about a complex consisting of various components and we can analyse in detail the relationship between them.
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Haryati, Haryati. "Presupposition in The Mystery and Thriller Film of “Escape from Pretoria"." Journal of Pragmatics Research 4, no. 1 (August 10, 2022): 122–36. http://dx.doi.org/10.18326/jopr.v4i2.122-136.

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Presupposition itself has been a cause of the diversity of interpretations since presupposition sticks to utterances, sometimes unsaid clearly, that will provide implied meanings based on the context that is being talked about. The purposes of the study are to investigate three major points: the kinds of presupposition, their functions, and the percentage of each presupposition in the mystery and thriller film script of “Escape from Pretoria” by Francis Annan. This research used a qualitative method to analyze the obtained data. The observation is also used to collect data in which data are obtained from film scripts. The writer applies Yule’s theory (1996) to analyze the presupposition kinds, Halliday’s theory (2003) to analyze presupposition functions, and Subana’s formula to gain the percentage of each presupposition. As a result, there were 177 presuppositions obtained in the film script, with 166 existential presuppositions (93.8%), six factive presuppositions (3.4%), four lexical presuppositions (2.2%,) and one counterfactual presupposition (0.6%). From 177 presuppositions, the data were classified into 23 regulatory functions (13.0%), 2 interactional functions (1.1%), 57 representational functions (32.2%), 79 personal functions (44.6%), 1 imaginative function (0.6%), 4 instrumental functions (2.3%) and 11 heuristic functions (6.2%). Therefore, the dominant presupposition is existential, and the dominant function of presupposition is personal. Keywords: film script of Escape from Pretoria, pragmatics, presupposition
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Dissertations / Theses on the topic "Film script"

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Miami, Silas. "Tero Buro: Feature film script." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32801.

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The conflict and controversy sparked by the production and public consumption of creative work wherein African queerness is liberally expressed is rarely explored from the perspective of the African queer creative. This paper examines how South African queer creatives interpret and understand the often-tumultuous reception that exhibitions of queerness in film and television receive from largely heterosexual South African audiences. With its focus trained on locating the labor concomitant to queer visibility, labor carried predominantly by members of the queer community, it interrogates the positioning of cinematic presentations of African queerness within South Africa's past and current social and cultural landscape by examining how performative resistance of African queer narratives impact the Black queer creative community in South Africa. Finally, this study critically explores the line of reasoning behind the displacement central to arguments that simultaneously seek to strip African queerness of any legitimate claim to ownership of indigenous African cultures and stories. Jon Trengrove's film, Inxeba (The Wound) (2017), functions as this paper's primary text. Inxeba's conceptualisation, production, reception, and the controversy that succeeded its release will ultimately ground this paper's examination of the consequential impact that its exhibition's spectacle had on the lives, and production outputs, of Black African queer creatives
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Paitaki, Gregory. "Cast-off: Original script for a feature film." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12651.

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Nisses, Hilda, and John M. Wahl. "Scriptans osynliga arbete : En kvalitativ studie om scriptors syn på scriptayrket i svensk filmoch tv-produktion." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35747.

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Uppsatsens syfte är att genom en kvalitativ undersökning belysa scriptayrket. Fyrascriptor har deltagit i djupintervjuer där de med egna ord beskrivit sitt arbete. De områdensom diskuterats är hur de blev scriptor, scriptans arbetsuppgifter, hur samarbetet ser ut medkollegor i filmteamet, egenskaper som är viktiga att ha som scripta, att det finns en okunskapom yrket samt bristen på en naturlig väg in i yrket. Detta kombineras med en teoretisk delsom belyser scriptan historiskt samt ur ett genusperspektiv. Det studien kommit fram till äratt det finns en historisk bakgrund som lett till att scriptan som yrke har haft fler kvinnliga änmanliga utövare. Genus har dock inte påverkat de intervjuade scriptorna när de valt sitt yrke.Scriptorna beskriver i intervjuerna en stor okunskap om deras yrke, mycket av det beror på attdet saknas utbildningar och litteratur om yrket. Till skillnad från andra yrken inom film ärscriptans yrke inte kopplat till kreativt arbete eller teknik, det är en av anledningarna tillokunskapen kring yrket. Det finns idag ingen naturlig väg för att bli scripta, något som ärunikt när det kommer till yrken inom filmindustrin. Likväl är scriptan den enda positionen påen filminspelning utan en egen assistent. En scripta-assistent skulle kunna vara en naturligväg för personer med intresse för yrket att arbeta sig uppåt. Dock håller inte alla intervjuadescriptor med om behovet av en scripta-assistent, men med en ökande produktionstakt kan detbehovet förändras.
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Dorr, Summer. "And Then Okay." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1385.

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Anson, Tylyn. "Changes." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/honors_theses/7.

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The screenplay for a narrative film is the key starting point in the development process, and writing a feature length screenplay is a particularly grueling process. This thesis traces my efforts to write a full, strong draft of a feature length screenplay, from conception to the current draft. The essay catalogs the notes I received on the screenplay, as well as my own ideas for changes and developments as I wrote the screenplay. After the essay, the current (as of this date, May of 2012) draft of the screenplay is attached as a presentation of my work reflected in the essay.
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Marshall, Matt, and n/a. "GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?" University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20090106.150522.

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In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is, metaphorically speaking, a haunted house: an instance of the uncanny. This raises the possibility the film script is also uncanny, from the Freudian notion of das Unheimliche, the strangely familiar and familiarly strange - and thus also a haunted house. This proposition engenders a search as self-reflexive practice for that which haunts the script' an uncanny process to explore the uncanny. The search requires drawing on Barthes, acting 'as dead' with that process' attendant contradictions and problematics' the most likely ghost in the script being the writing self. Establishing the characteristics of the writing self involves distinguishing that figure from the author. This requires outlining the development of theories of the author from the concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as a philosophical certainty. Barthes and Foucault call this abnegation the death of the author. Rather than that marking the end of a particular branch of analysis, the death of the author can be considered an opening to the writing practice. From this perspective, the death of the author becomes a strategy in Foucault's game of writing, effecting the obfuscation of the writing self, by placing a figure as dead, the author figure, within the metaphorical topography of the text. Indeed, the author as dead is akin to a character in the narrative but at a substratum level of the text. What places this dead figure within the text is an uncanny writing self, a figure of transgression, brought into being in the experience of Blanchot's essential solitude. 'The Seaborne' written by Matt Marshall, provides an example of a film script that constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics of the film script as text type, its relative unimportance in relation to any subsequent film based on the script becomes of itself a feature of the film script. This makes the film script a site of negotiation and contestation between the implied author as hidden director on the one hand and the implied reader as implied director on the other. This confirms the film script as, using Sternberg's terminology, a blueprint text type. Examples of the negotiation and relationship between hidden director and implied director are found in analysis of 'The Seaborne' as are the tensions in the relationship between the individualistic impulses of the hidden director and the mechanistic, formal requirements of the text type as blueprint. These tensions are ameliorated by the hidden director who is then effaced within the constructed layers of the film script text to allow interpretive space for the implied director. 'The Seaborne' as representative of the film script text becomes the after-image of a written text and the foreshadowing of a future filmic one. It therefore never finds completion within its own construction process and its formation begins in templates that accord with the Bakhtin's description of the epic, as is shown by comparing the construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards the individual markers of a writing self. This writing self, referring to Kristeva, is a figure of abjection. It transgresses itself and transgresses its own transgressions. It is a ghost in a ghost story without ghosts.
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Vianello, Anna Giulia. "Proposta di traduzione dello script di 'Viy' (2014) , di Oleg Stepcenko." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9225/.

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Il presente elaborato è una proposta di traduzione del film Viy (2014), diretto da Oleg Stepčenko. Il film è una rivisitazione cinematografica di un racconto di Nikolaj Vasil'evič Gogol', da cui prende il titolo. Prima di dedicarmi alla traduzione del testo, ho ritenuto opportuno documentarmi quanto più possibile sul racconto originale, i temi, il linguaggio, la contestualizzazione dell'opera nella vita dell'autore. La prima parte del mio lavoro è quindi dedicata alla presentazione del racconto originale e della raccolta da cui esso è tratto, Mirgorod (1835). Successivamente, ho voluto introdurre il film e le sue tematiche (non sempre corrispondenti al racconto); ho poi aggiunto un breve commento alla mia traduzione, enucleando i principali ostacoli incontrati nel processo traduttivo, e le soluzioni adottate; in appendice, la mia proposta di traduzione. La scelta di questo film come oggetto dell'elaborato finale è derivata da un mio particolare interesse per il cinema fantasy ; i film di questo genere sono solitamente tratti da romanzi contemporanei, mi è parso quindi singolare il caso di Viy (2014), ispirato al folle racconto di un autore sacro come Gogol'.
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Hammersmith, Andy. "Tom, Dick, and Harry." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/960.

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Presumed dead, a cantankerous retired assassin hides out in a senior living home. When the CIA tracks him down, he enlists his fellow residents to trade in their walkers for weapons to protect the facility from a death squad.
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Copeland, Kendra G. "Bodies Without Blemish." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/972.

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A struggling actress and single mother is cast in a leading role by a renowned director seeking women who have bodies without blemish, triggering a harrowing on-set odyssey that reaches a predatory boiling point.
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Bloore, Peter. "The screenplay business : managing creativity in script development in the contemporary British independent film industry." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/49837/.

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A screenplay is sometimes said to be a blueprint for a film, and its genesis and development is therefore important to our understanding of how films are created. Film business studies has traditionally avoided close study of the screenplay development process, perhaps as a result of the film studies emphasis on analysing the text of the completed film, and the auteur theory emphasis on the importance of the director; both of which may have marginalised the study of development and the creativity of development practitioners. Professional screenplay development is a team activity, with creative collaboration between screenwriters, producers, development executives, financiers, and directors. So how does power and creative control shift between members of this team, especially as people arrive or leave? And how does this multiple authorship affect the auteur theory idea that the director is the creative author of the film? This research sets out to open debates around the process and nature of the business of script development, and consider how development practitioners experience, collaborate and participate in the process of screenplay development in the UK today. It uses original interviews, observation and hermeneutic reflection; and asks how cross-disciplinary ideas around creativity, managing creative people, motivation, organisational culture, and team theory could be used to consider how the creative team of writer, producer, director and development executive can work effectively together. It proposes new theories, including defining the independent film value chain and the commitment matrix, analysing changing power relationships during development, and establishing new typologies around film categories and their relationship to funding. The core of this PhD by Prior Publication is the book The Screenplay Business: managing creativity and script development in the film industry. The supporting paper explores the contexts of film industry studies; the film value chain; auteurship and screenplay studies.
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Books on the topic "Film script"

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Shakespeare, William. [Othello: Unpublished film script]. [U.S]: [Castle Rock], 1995.

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Write that film script. Oxford: Heinemann Library, 2004.

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Script supervising and film continuity. 3rd ed. Boston: Focal Press, 1999.

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Razā, Rāhī Māsūma. The Mahabharata TV film script. Calcutta, India: Writers Workshop, 1991.

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Miller, Pat P. Script supervising and film continuity. Boston: Focal Press, 1986.

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Script supervising and film continuity. 2nd ed. Boston: Focal Press, 1990.

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Script planning: Positioning and developing scripts for TV and film. Boston: Focal Press, 1993.

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Mukhtār, Taqī. Open your arms: A film script. Ashburn, Virginia: Washington Iranians Media, Inc., 2012.

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1944-, Duchovnay Gerald, ed. Film voices: Interviews from Post Script. Albany, N.Y: State University of New York Press, 2004.

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Alan, Ball. American beauty: The shooting script. New York: Newmarket Press, 1999.

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Book chapters on the topic "Film script"

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Kelly, Rory. "Organize Your Script." In Prepping and Shooting Your Student Short Film, 10–19. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003169864-2.

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Moore, Cath, and Radha O’Meara. "How Government Institutions Shape Script Development: Comparative Case Studies of Screen Australia and the Danish Film Institute." In Script Development, 31–50. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-48713-3_3.

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Wales, Lorene M. "Script Breakdown and Scheduling." In The Complete Guide to Film and Digital Production, 33–55. Third edition. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315294896-2.

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Price, Steven. "The Silent Film Script in Europe." In A History of the Screenplay, 99–119. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137315700_6.

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Coelen, Marcus. "An Eclipse of the Screen." In De/Constituting Wholes, 215–37. Vienna: Turia + Kant, 2017. http://dx.doi.org/10.37050/ci-11_10.

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The film script is a challenging entity for criticism. Its destiny is to disappear, its function to contribute to the production of a screen of image, music, and voice, behind which it dissolves and is forgotten. Film scripts are in principle not meant to be read. Nor are they meant to be inscribed directly into our archives and libraries. They are transient and ‘functional’.
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Clarke, Arthur C. "The Colours of Infinity-The Film Script." In The Colours of Infinity, 144–72. London: Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-486-9_9.

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Joyce, James B. "Critical Script Analysis for Technical and Aesthetic Decision-Making." In Aesthetics of Film Production, 24–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003120896-4.

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Weaving, Simon. "Creating the Low-Budget Feature Film Script: Development as Emergence." In The Palgrave Handbook of Script Development, 59–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82234-7_5.

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Daniels, Jill. "Scripting the Experimental Documentary Film: Developing the “Script” for Not Reconciled." In The Palgrave Handbook of Script Development, 103–19. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82234-7_8.

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Milligan, Christina. "Script Development as a Collective Enterprise: The Writing of the Indigenous Feature Film Waru." In The Palgrave Handbook of Script Development, 175–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82234-7_13.

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Conference papers on the topic "Film script"

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Ninsiana, Widhiya, and Anwar Sidiq. "Idiomatic expressions in Harry Potter and the Deathly Hallows film script." In Proceedings of the 6th Batusangkar International Conference, BIC 2021, 11 - 12 October, 2021, Batusangkar-West Sumatra, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.11-10-2021.2319430.

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Ivanchyshyn, Danylo, Victoria Vysotska, and Solomiia Albota. "The Film Script Generation Analysis Based on the Fiction Book Text Using Machine Learning." In 2021 IEEE 16th International Conference on Computer Sciences and Information Technologies (CSIT). IEEE, 2021. http://dx.doi.org/10.1109/csit52700.2021.9648818.

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Hladun, Olexander, Andrii Berko, Myroslava Bublyk, Lyubomyr Chyrun, and Vadim Schuchmann. "Intelligent System for Film Script Formation Based on Artbook Text and Big Data Analysis." In 2021 IEEE 16th International Conference on Computer Sciences and Information Technologies (CSIT). IEEE, 2021. http://dx.doi.org/10.1109/csit52700.2021.9648682.

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Tipa, Violeta. "Ivan Turbincă’s story: the road to the big screen." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.11.

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One of the few masterpieces, created at the Moldova-film studio based on a work from the national classics, was and will remain the film Se caută un paznic/ Looking for a guard (1967) directed by Gheorghe Vodă, a film inscribed in the golden fund of national cinematography. Today, the film is of interest as a separate work, which managed to convey the author’s visions and his national spirituality, as well as the history of its creation. The materials kept in the funds of the National Archive of the Republic of Moldova allow us to restore more or less the epic of this cinematographic work, starting with 1964, when Vlad Ioviță, a young graduate of the Advanced Courses in Screenwriting and Directing, inspired by the well-known tale Ivan Turbincă by the classic of our literature Ion Creangă, submits the offer for the film. By studying archive materials, we will be able to follow the pilgrimages of the literary script until the release of the film Se caută un paznic in 1968 on the big screen. The journey of the literary script to the big screen opens new perspectives in the awareness of the socio-cultural and ideological conditions, which provoked such an original vision of Creanga’s tale.
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Liu, Mengyu, Wenqian Shang, Jianxiang Cao, Chan Pan, Weiguo Lin, and Hao Fu. "The Design and Implementation of Script Authoring Assistant System of Film and Television Big Data." In 2018 IEEE/ACIS 17th International Conference on Computer and Information Science (ICIS). IEEE, 2018. http://dx.doi.org/10.1109/icis.2018.8466381.

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Wang, Xingting, Minyong Shi, and Chunfang Li. "Design and Implementation of Shooting Notice of Film and Television Projects Based On Play Script." In 2018 IEEE/ACIS 17th International Conference on Computer and Information Science (ICIS). IEEE, 2018. http://dx.doi.org/10.1109/icis.2018.8466478.

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Sullivan, Anthony, Anil Saigal, and Michael A. Zimmerman. "Simulation of Liquid Crystal Polymer Directionality During Cast Film Extrusion." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-86855.

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Liquid crystal polymers (LCP’s) comprise a class of melt-processable materials that derive specialized mechanical, chemical, and electrical properties from long-range molecular ordering. This unique microstructure gives rise to anisotropic bulk behavior that can be problematic for industrial applications, and thus the ability to model the orientation state in the polymer is necessary for the design of isotropic material manufacturing processes. Previous efforts to model LCP directionality have been primarily restricted to structured grids and simple geometries that demonstrate the underlying theory, but fall short of simulating realistic manufacturing geometries. In this investigation, a practical methodology is proposed to simulate the director field in full-scale melt-processing set-ups, specifically cast film extrusion, to predict the bulk material orientation state. The hybrid approach utilizes separate simulations for the polymer flow with commercial computational fluid dynamics (CFD) software, and the material directionality through a user-defined post-processing script. Wide-angle x-ray scattering (WAXS) is used to experimentally validate the simulated directionality during extrusion processing. It is shown that the model is capable of predicting both the direction and degree of orientation in the polymer resulting from processing, and the model produces strong agreement with experimental measurement of the polymer orientation state.
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Notariano Belizário, Pedro, and João Carlos Massarolo. "Long-form narrative design of streaming." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.68.

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This article’s proposal is to relate script studies and new spectator consumption habits studies. In essence, we will explain the binge-wathching phenomenon by analysing the narritive design of complex series, identifying the specific qualities that promote the spectator's binge-wathching in the macro-structuring of this format. In a general sense, we will make our analysis by comparing the narrative structures of series and films, pointing out the differences between the narrative designs of these two formats that make it impossible for a series to be compared to an extended film. Basically, we try to disprove the idea that “as habits related to the way of watching TV series evolve, they will tend to be increasingly conceived and written as a extended film” (KALLAS , 2016, p. 16). From this statement made by Kallas, intertwining concepts of consumption habits with those of scriptwriting, some questions arise: If a series is like an extended film, why do we complain about the length of exended films, like Martin Scorsese's The Irishman with its dull 3.5 hours in length, while managing to watch whole series containing at least twice as many hours? If a series is like an extended film, why is it split into episodes even though these can be watched in sequence - binge-watching? If a series is like an extended film, why does it need the collaborative elaboration of a writers room instead of being conceived by a single author? The structural comparison between films and series is not impossible, but we will show how problematic it is, or at least how harmful for the analysis of complex series as an autonomous format, with its own notions of elaboration and structuring. In that sense, unlike films, series are built from a structure of repetition of acts within its structure – the episodes generally have 3 to 5 acts each. This results in a greater narrative density of the series, since acts compressed in time lead to a faster pace of narration, with more recurrently plot points in the story, capable of intensifying engagement and increasing the attention of the spectator who practices the binge-watching. This huge amount of acts, narrative arcs and characters go beyond the creative capacity of a single author, requiring a collaborative elaboration of a screenwriter’s room, with several heads thinking the story simultaneously. Thus, this article seeks, through the comparison of the macrostructures of series and films, to point out the differences in the narrative design of these two formats. In other words, we aim to elucidate a simple concept: different formats assume the existence of different narrative designs.
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Coney, Shun, and Yasunobu Ito. "The production process of films from a relational perspective: A case study of independent films about Parkinson's disease in Japan." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002555.

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The purpose of this paper is to clarify how creativity is produced in filmmaking from a relational perspective. Creativity here refers to the fact that films that contain original ideas and evoke sympathy in the audience are not produced solely through the internal mechanisms of individuals, but rather as a result of the collective actions and activities of various people.In recent years, movies have moved beyond the confines of theaters, and infrastructures such as Amazon Prime and Netflix are rapidly expanding. Against this backdrop, independent Japanese films have been receiving high acclaim overseas. The so-called independent films are not films that come out with huge budgets and a fixed release destination like the major film systems, but films that are planned and produced by the filmmakers themselves without any financial resources. Independent films can have an impact on people despite the risk of completion and release, but their reputation is focused on the director and producer. For this reason, the relationship between actors other than the director and producer in filmmaking is not fully clarified.Filmmaking is a multi-layered and contingent creativity that is created through the long-term interaction of not only the director, producer, and cast, but also various other actors such as equipment, script, and location. While independent films allow for a greater degree of freedom in planning, they are also subject to complexities and volatility, such as difficulties in obtaining financing and differences in the image of the film among the staff, which can prevent the project from proceeding as planned at the outset.The subject of the study is Parkinson's disease (PD) patients and movies about it. PD is an intractable disease for which there is currently no curative treatment, and which causes progressive symptoms such as tremors in the limbs and stiffness in the muscles that interfere with daily life. In order to control the progression of the disease, it is said that regular exercise therapy and rehabilitation are essential, along with daily medication. The film will be produced with the cooperation of the PD Patients Association, which has 8,000 members, and will consist of two parts: a drama about the life of the main character who was diagnosed with PD in his 40s, and a documentary about several PD patients in their 30s to 60s. The research was conducted by one of the authors (a filmmaker) using ethnography: from December 2020 to November 2021, he conducted participant observation of the relationships between the actors involved in the project and the living conditions of the PD parties, and interviewed them. Based on these observations, we conducted a series of interviews. The PD parties who would become the informants and the filmmakers had numerous dialogues. As a result, their social and living environments were unraveled.
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Rodriguez, Rodney, and Xiaoyin Wang. "Static Analysis of File Manipulation Scripts." In 2019 IEEE 24th Pacific Rim International Symposium on Dependable Computing (PRDC). IEEE, 2019. http://dx.doi.org/10.1109/prdc47002.2019.00039.

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Reports on the topic "Film script"

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Sladen, W. E., R. J. H. Parker, P. D. Morse, S V Kokelj, and S. L. Smith. Geomorphic feature inventory along the Dempster and Inuvik to Tuktoyaktuk highway corridor, Yukon and Northwest Territories. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/329969.

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Thaw of permafrost and associated ground ice melt can reduce ground stability, modify terrain, and reconfigure drainage patterns affecting terrestrial and aquatic ecosystems and presenting challenges to northern infrastructure and societies. The integrity of ground-based transportation infrastructure is critical to northern communities. Geomorphic features can indicate ground ice presence and thaw susceptibility. This Geological Survey of Canada Open File presents the digital georeferenced database of landforms identified in continuous permafrost terrain using high-resolution satellite imagery. The database is for a 10 km-wide corridor centered on the Dempster and Inuvik-Tuktoyaktuk highways. This 875 km-long transect traverses a variety of geological and physiographic terrain types, including glaciated and non-glaciated terrain, in the northcentral Yukon and northwestern Northwest Territories, where variation in climate, relief, ecology, and disturbance have produced a variety of periglacial conditions. We identified geomorphic features in high-resolution (0.6 m) satellite imagery visualized in 3D, and digitized them in ArcGIS. We used custom Python scripts to populate the attributes for each geomorphic feature. A total of 8746 features were mapped by type and categorized within three main classes: hydrological (n = 1188), mass movement (n = 2435), and periglacial (n = 5123). Features were identified at 1:10 000 and mapped at 1:5000. This report presents the geospatial database in ESRI shapefile, Keyhole Markup Language (KML), and comma-delineated formats.
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