Dissertations / Theses on the topic 'Film script'
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1
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.
7
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'.
8
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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Belaubre, Yves. "Le scénario dans l'intention du film." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20074.
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Depuis une vingtaine d’années, le scénario américain s’est imposé comme modèle du scénario de fiction auprès des acteurs de la production de cinéma et de télévision pour sa performance et sa rationalité narratives. Conçu pour assurer au film de fiction le maximum de chance de succès, il subordonne la création audiovisuelle à un dispositif narratif assurant l’identification du spectateur et sa satisfaction émotionnelle. Or, eu égard à une ambition artistique du cinéma, sa légitimité est problématique. La présente recherche développe une alternative à la formalisation narrative du film à travers un mode de scénarisation qui subordonne la narration au discours filmique. L’identification au personnage y compte moins que l’expression d’une vision-audition du mondeSince about twenty years, the American screenplay stood out as model of the script of fiction into cinema and TV production for its narrative performance and its rationality. Designed to insure public success to fiction movies, it subordinates the audiovisual creation to the narrative device, insuring identification of the spectator and its emotional satisfaction. But, in consideration of the artistic ambition of the cinema, its legitimacy is problematic. The present research develops an alternative in the narrative formalization of the movie through a mode of « scénarisation » which subordinates the story to the cinematic discourse. The identification of spectator to the character matters there less than the expression of a vision-hearing of the world
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Solano, Callie M. "Satchmo." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1578.
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Morris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16632/1/Anthony_Morris_Thesis.pdf.
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This study took the widely-accepted, ‘industry standard’ Structural Paradigm of feature film plotting, and ‘road tested’ it, assessing its value as a tool in the process of actually writing a feature film script. The methodology employed was to write a feature film script (titled THE ARM THAT DOES THE HARM) and look to apply the Paradigm to the writing process. Journals recording the process were kept and peer assessment undertaken. The data from these sources was then analysed and conclusions drawn.
The reason for and value of this study are that, while this Paradigm is widely espoused by screenwriting gurus, taught as part of film courses and applied as a tool of script assessment and review, there is very little documented evidence of its actual value to the practice of writing a script. My findings revealed that, though a useful reference point throughout, the Paradigm is most valuable during the early stages of story structuring and again, most particularly, when editing later drafts.
An important outcome of this study was that it identified the Paradigm as a valuable tool, not a rule that must be adhered to, a series of points a narrative must be seen to ‘hit’ in order for it to be considered to have been told correctly. Further, this study demonstrated in practice how this tool can be applied. This study suggests that trying to force an evolving story into the confines of the Paradigm can inhibit the story from developing ‘organically’ from its characters. Rather, the Paradigm should be applied as a tool for helping shape stories that first and foremost should be character-driven.
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Morris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16632/.
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This study took the widely-accepted, ‘industry standard’ Structural Paradigm of feature film plotting, and ‘road tested’ it, assessing its value as a tool in the process of actually writing a feature film script. The methodology employed was to write a feature film script (titled THE ARM THAT DOES THE HARM) and look to apply the Paradigm to the writing process. Journals recording the process were kept and peer assessment undertaken. The data from these sources was then analysed and conclusions drawn.
The reason for and value of this study are that, while this Paradigm is widely espoused by screenwriting gurus, taught as part of film courses and applied as a tool of script assessment and review, there is very little documented evidence of its actual value to the practice of writing a script. My findings revealed that, though a useful reference point throughout, the Paradigm is most valuable during the early stages of story structuring and again, most particularly, when editing later drafts.
An important outcome of this study was that it identified the Paradigm as a valuable tool, not a rule that must be adhered to, a series of points a narrative must be seen to ‘hit’ in order for it to be considered to have been told correctly. Further, this study demonstrated in practice how this tool can be applied. This study suggests that trying to force an evolving story into the confines of the Paradigm can inhibit the story from developing ‘organically’ from its characters. Rather, the Paradigm should be applied as a tool for helping shape stories that first and foremost should be character-driven.
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Stånggren, Mikael. "Writing a screenplay : A study in crafting quality stories for movies and television." Thesis, University of Gävle, Department of Mathematics, Natural and Computer Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-215.
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The art and science of crafting superior stories for feature film, television, and computer graphics productions, for both local and international purposes alike, are extremely important. In the artistic sense, this is a glimpse at the key elements in creating successful characters, stories, and environments. In the technical sense, it is a review on how to write a professional screenplay, as well as a comparison between different mediums, methods, and styles of writing. In order to conduct this research and accomplish said goals, material from a variable set of sources, including work by acclaimed authors, as well as professional screenplays and personal experience within the subject was used. The initial hypothesis that was put forth, proved in the end to become the overall result. Although being a field more inclined towards art than science, some of the answer and results came to fall within individual conclusions and opinions, rather than technical facts, as writing is different in style and nature to each and every screenwriter.
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Breed, Catharina Adriana. "Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / C.A. Breed." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1671.
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Durgin, Chelsea A. "The Redeemer." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/818.
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Armstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16446/1/Shayne_Armstrong_-_Monster_Business.pdf.
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Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract.
This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay.
Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or
paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.
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Armstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16446/.
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Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.
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Hart, Blaize Robert. "In Visible Bodies: A Phenomenology of Sexuality and the Creation of Repressive Systems in Film." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158768776757641.
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Raveneau, Megan Fay. "A Friend of Robyn." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/916.
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Gibbs, John. "'It was never all in the script...' : mise-en-scene and the interpretation of visual style in British film journals, 1946-1978." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298747.
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Scott, Brent Steven. "The Lonely." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1667.
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Machado, Renata Guimarães. "Como é que se diz eu te amo: estudo sobre a relação entre narrativa e emoções." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-16022011-123246/.
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Este trabalho relata aspectos do processo criativo da redação de um roteiro cinematográfico de longa metragem. Procurou-se investigar, durante o fazer do roteiro, o modo como a narrativa pode ser utilizada para despertar emoções e interesse no espectador. Através da revisão de obras de teóricos cognitivistas do cinema e de manuais de roteiro, levanta-se considerações sobre possíveis estratégias para se envolver emocionalmente o espectador. Para ilustrar estas estratégias, é apresentada uma análise da obra Aconteceu naquela Noite (1934). A partir destas considerações, realiza-se a descrição do processo de escrita do roteiro, procurando demonstrar de que forma as considerações teóricas influenciaram neste processo e no produto final, o roteiro completo.This dissertation reports some aspects of the creative process on writing a feature movie script. During the screenwriting, it was attempted to investigate how the narrative can be used to elicit emotions and interest in the spectatorship. Through the review of Cognitivist Film Theory Scholars and Screenwriting Guides, considerations were raised on possible strategies to emotionally involve the viewer while telling the story. To elucidate these strategies, the analysis of the movie It happened one night (1934) follows. Having reached these considerations, the script is presented along with the trajectory of its writing.
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Biscalchin, Fernando José. "Processo de criação dos roteiros Cidade de Deus e Tropa de Elite 2 de Bráulio Mantovani." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4730.
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Previous issue date: 2015-09-15The thesis reconfigures the way to understand the film screenplay production process. The proposal is to offer a critical approach for them to focuses in the field of research about the process of creating the media. A new look can be seem in the construction of Bráulio Mantovani s writing scripts for his films Cidade de Deus (City of God) and Tropa de Elite 2 (Elite Squad 2), from the documentation of their writing processes. Specifically the different treatments of the scripts, notes, e-mails between Director and screenwriter, escaletas (scene headings) and card files will be studied to build the narrative and the characters. The analysis is based on the contribution of scholars of screenplay writers, such as Syd Field, Lajos Egri, Doc Comparato, Luis Carlos Maciel Flávio de Campos, Marcos Rey, John Howard Lawson, Linda Seger, Linda Cowgil. Under an international perspective, we will study aspects of screenplays from the earliest and most representative filmmakers, like Robert Bresson, Dziga Vertov, Sergei Eisenstein, Pier Paolo Pasolini, Andrei Tarkovsky, Jean Epstein, Jean-Luc Godard, Pasolini, Griffith, among others. Also understand a historical panorama about some of the major Brazilian film periods: inicio do cinema national (start of national cinema), a chanchada (the popular comedies), a pornochanchada (the adults popular comedies), o cinema novo (the new cinema), o cinema independente e de autoria (the independent film and authorship) and o cinema de retomada (the cinema of resumption). From the point of view of the studies on the process of creation in the media, the thesis establishes a dialogue with the research of Salles that discusses the creation as a network process. From the analysis of singularities of the processes of the two films that are part of the search, it will be discussed the principles of the screenwriter project studied. It is intended to contribute to both, the bibliography of the field and the creation process
A tese reconfigura a forma de compreender os processos de produção dos roteiros cinematográficos. A proposta é oferecer numa abordagem crítica que enfoca-os no campo da pesquisa sobre o processo de criação nas mídias. Um novo olhar sobre a construção da escrita dos roteiros de Bráulio Mantovani para seus filmes Cidade de Deus e Tropa de Elite 2, a partir da documentação de seus processos de escrita. De modo mais específico serão estudados os diferentes tratamentos dos roteiros, anotações, e-mails entre diretor e roteirista, escaletas e arquivos de cartões de cenas para construção da narrativa e dos personagens. A análise fundamenta-se na contribuição de estudiosos de roteiro roteiristas cinematográfico, tais como, Syd Field, Lajos Egri, Doc Comparato, Luis Carlos Maciel, Flávio de Campos, Marcos Rey, John Howard Lawson, Linda Seger, Linda Cowgil. Sob uma perspectiva internacional, estudaremos aspectos de roteirização a partir dos primeiros e mais representativos cineastas, como Robert Bresson, Dziga Vertov, Serguei Eisenstein, Pier Paolo Pasolini, Andrei Tarkovski, Jean Epstein, Jean-Luc Godard, Pasolini, Griffith, entre outros. Abordaremos também um panorama histórico sobre algum dos principais períodos cinematográficos brasileiro: inicio do cinema nacional, a chanchada, a pornochanchada, o cinema novo, o cinema independente e de autoria e o cinema de retomada. Sob o ponto de vista dos estudos sobre o processo de criação nas mídias, a tese estabelece um diálogo com a pesquisa de Salles que discute a criação como um processo de rede. A partir da análise das singularidades dos processos dos dois filmes que fazem parte do recorte da pesquisa, serão discutidos os princípios direcionadores do projeto do roteirista estudado. Pretende-se contribuir tanto para a bibliografia do campo de roteiro como de processos de criação
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Bieging, Patricia. "Potencialização da experiência estética no iCinema: diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-17032017-151852/.
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Tendo em vista as formas de interação entre os sujeitos e os audiovisuais ficcionais interativos, esta pesquisa teve como objetivo geral a elaboração de diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo com base na potencialização da experiência estética do espectador. Com o avanço dos aparatos tecnológicos e as inovadoras possibilidades, o iCinema (cinema interativo) ganha maior força e conquista os espectadores quanto à imersão e à participação no processo de decisão da trajetória da história. A partir disso, foram traçados alguns objetivos específicos teóricos: estudar a experiência estética gerada na recepção da narrativa cinematográfica; compreender o fluxo motivacional e o papel dos dispositivos na construção da mise-én-scène; verificar as etapas da construção de um roteiro cinematográfico clássico e a possibilidade de construção multilinear; e explorar métodos multimetodológicos para a pesquisa. Com relação aos objetivos específicos práticos, buscou-se: co-produzir um roteiro de curta-metragem cinematográfico ficcional interativo; realizar um estudo de recepção com profissionais da área audiovisual a partir do roteiro criado; entender a relação dos espectadores com narrativas multilineares e interativas; entender os dispositivos cinematográficos com vistas a potencializá-los na criação do roteiro; e criar diretrizes para a elaboração de roteiros interativos. O crescimento das possibilidades criadas pelos filmes pode ser percebido na ampliação das narrativas fílmicas e nos diversos movimentos propiciados por esta mídia, gerando múltiplas sensações e a intensificação das emoções. Neste contexto, buscou-se responder à seguinte pergunta de pesquisa: como construir uma narrativa cinematográfica ficcional multilinear a partir de dispositivos cinematográficos contemporâneos, fazendo com que o espectador vivencie uma experiência extraordinária? Para responder aos objetivos da pesquisa traçou-se um plano multimetodológico (BAUER, GASKELL, 2008), compreendendo abordagens qualitativa, quantitativa, pesquisas bibliográficas, documentais e empíricas (MERRIAM, 1998; MERKLE, 2000). A abordagem junto aos espectadores teve a participação de 24 pessoas, homens e mulheres, entre 20 e 39 anos, fluentes em internet e novas mídias. O roteiro de curta-metragem cinematográfico multilinear interativo foi criado por Raul Inácio Busarello e Patricia Bieging. O estudo de recepção (JACKS; ESCOSTEGUY, 2005) teve a participação de sete especialistas em produção audiovisual. Verificou-se que a multilinearidade das estruturas colabora com o iCinema e convida o espectador, que espera ser surpreendido, a assumir papéis importantes para o desenvolvimento da narrativa. Evidenciou-se que o gerenciamento da interatividade é o ponto chave do iCinema e um desafio para os roteiristas e para os produtores. Estas desafiadoras experiências permitem maior interação e, até mesmo, imersão e profunda vivência dos sujeitos frente à narrativa. Possibilita, inclusive, a interferência em seu fluxo narrativo, fazendo com que a obra seja reformulada de acordo com as escolhas do espectador. Em resposta à pergunta de pesquisa foram elaborados quatro grupos de diretrizes, que se subdividem, visando à criação de roteiros cinematográficos multilineares interativos, sendo: 1) foco nas estratégias de potencialização da experiência do espectador, subdividido em: criação da narrativa, captura da atenção, realismo da narrativa, personagens e self-experience; 2) dispositivos estratégicos e gerenciamento interativo; 3) gerenciamento das ramificações, subdividido em: manutenção do fluxo, teasers e inatividade do espectador; 4) condução do fluxo narrativo.Considering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.
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Moore, Ashley N. "Fisher of Men." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1408.
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Fisher of Men tells the story of an ancient and secretive group of supernatural balance keepers. When God goes missing, it is up to them to locate him before the armies of Heaven and Hell lay siege to the earth, but they have their own problems. When knowledge of a secret weapon surfaces, they are tasked to find it and destroy it before it falls into the hands of either side. The secret weapon is Charitie Newman, a young woman from rural Indiana who moved to New Orleans with her sister. Charitie has special abilities that have no limits, and after her sister is brutally murdered, she agrees to join forces with the group in order to find God--and her sister's murderer.
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McLoughlin, Aaron. "Gravy." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50947/1/Aaron_McLoughlin_Thesis.pdf.
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To many aspiring writer/directors of feature film breaking into the industry may be perceived as an insurmountable obstacle. In contemplating my own attempt to venture into the world of feature filmmaking I have reasoned that a formulated strategy could be of benefit. As the film industry is largely concerned with economics I decided that writing a relatively low-cost feature film may improve my chances of being allowed directorship by a credible producer. As a result I have decided to write a modest feature film set in a single interior shooting location in an attempt to minimise production costs, therefore also attempting to reduce the perceived risk in hiring the writer as debut director.
As a practice-led researcher, the primary focus of this research is to create a screenplay in response to my greater directorial aspirations and to explore the nature in which the said strategic decision to write a single-location film impacts on not only the craft of cinematic writing but also the creative process itself, as it pertains to the project at hand.
The result is a comedy script titled Gravy, which is set in a single apartment and strives to maintain a fast comedic pace whilst employing a range of character and plot devices in conjunction with creative decisions that help to sustain cinematic interest within the confines of the apartment. In addition to the screenplay artifact, the exegesis also includes a section that reflects on the writing process in the form of personal accounts, decisions, problems and solutions as well as examination of other author’s works.
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Harris, Bonnie L. "Scrap Metal." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/508.
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Mahmoudian, Eléonore. "Etude de l'adaptation cinématographique des textes de Hayashi Fumiko par Naruse Mikio." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF006.
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Au début des années 1950, le cinéma japonais achève de se remettre des restrictions d'abord imposées par le régime militariste, puis entraînées par la défaite du pays. L'industrie cinématographique prospère rapidement et puise dans la littérature des histoires pour les films qu'elle doit produire à une cadence toujours plus élevée afin de répondre à la demande des salles de cinéma. C'est dans ce contexte que Naruse Mikio (1905-1969) a réalisé six films inspirés de textes de Hayashi Fumiko (1903-1951). Ces films sont représentatifs tout à la fois des relations que les institutions littéraires et cinématographiques entretenaient à l'époque où les films ont été réalisés, du rôle joué par la littérature dans la politique de production des studios de cinéma et de la façon dont l’adaptation était perçue par la critique de cinéma.Mais outre la présentation de ces aspects contextuels et historiques, l'objectif de cette thèse est de dégager des pistes qui aideraient à appréhender l'œuvre de Naruse Mikio à travers l'examen des choix qu'il opère lors du processus d'adaptation, que ce soit au niveau du sujet, de la construction du récit, ou encore de la mise en scène. Naruse parvient à trouver un équilibre entre ses ambitions formelles et les exigences du récit en élaborant avec virtuosité un style effacé ou « invisible ». Pour tenter d'en faire ressortir les particularités, notre effort s'est concentré sur l'analyse des éléments de notre corpus (films, textes et scénarios). Dans cette entreprise, les textes de Hayashi constituent un référent précieux qui aide à déterminer les rapports que le cinéaste entretient avec son sujet, avec le scénario ou encore avec les contraintes inhérentes au cadre dans lequel il travailleIn the early fifties, the Japanese film industry had almost recovered from the restrictions imposed first by the military regime and then from Japan’s defeat in the Pacific War. The industry then prospered rapidly and found in literature the stories needed in order to produce enough movies to comply to the always growing demand of the cinemas. It was in this context that Naruse (1905-1969) realized six movies inspired by Hayashi Fumiko's (1903-1951) works. These movies are exemplary of the relationship between literary institutions and the film industry at the time they were shot. They are also typical of the importance of literature in the production policy of the diverse film studios as well as the manner movie critics received these screen adaptations.Besides the presentation of the contextual and historical aspects, our objective is to identify ways which would help to discover Naruse Mikio's works through the filter of choices made by him at the time of the adaptation, be it when choosing the topic, the story construction or the stage direction. Naruse was able to find a balance between his formal ambitions and the requirements of the story by skillfully elaborating a subdued or “invisible” style. In order to highlight the singularities of his personal style, we have concentrated our effort on the analysis of the diverse elements of our corpus: the films, texts and scripts. In this endeavour Hayashi’s writings are a precious point of reference helping us to determine the precise nature of the relationship the film director had with his subject, with the script as well as the constraints imposed by the frame he was working in
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Choo, Christina. "Trend of thought : inspirations for a form of non-linear direction." Thesis, Queensland University of Technology, 2005.
Find full textAbstract:
This is an exegesis, investigating the concept of trend of thought, as a motivation influencing the structure of non-linear storytelling in film. It journeys through the
production of a 32min short drama entitled, Queue, following its evolution from the early stages of the script to the completed film.
Through a self-analysis of my role as a writer, director and editor, I identified the priorities and emphasis placed on the various aspects of the story and film production at
each stage. The thesis shows the growth the film has taken simply by allowing itself to follow the trends of thoughts of the characters within the script.
While focusing its investigation on other known films that have been successful with non-linear structure, this study also examines the very nature of what non-linear is, and
the various methods of non-linear plot and story structures, as a medium of storytelling in cinema.
Finally this thesis concludes that the theory of the trend of thought can be a good concept to use as an influence in finding a motivation for a non-linear story structure, as I have found it useful, in the making of Queue.
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Maxwell, Nicholas Elliott, and nmaxwel1@bigpond net au. "Black Comedy and the Principles of Screenwriting/The Actions." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081212.123034.
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This exegesis will aim to research and analyse the conventions of writing a black comedy in a feature film script. As a screenwriter with a particular interest in black comedy, my aim is to explore the technical structures of black comedy in order to facilitate the writing of a tragicomic screenplay. We will attempt to define the components of black comedy and survey its origin in theatre and literature. The exegesis will aim to explore what components comprise the middle ground between drama and humour and position it in relation to the classical genres of tragedy and comedy. The exegesis will also aim to examine the function of black comedy in relation to the psychology of the protagonist and the audience, as well as defining the characteristics of the genre in the context of Screenwriting. The exegesis will observe the film adaptation of the renowned play, Who's Afraid of Virginia Woolf? as a case study. The research will inform the writing of the feature length screenplay entitled The Actions.
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Grimaud, Emmanuel. "La spirale prolifique ou L'histoire du processus cinématographique dans l'Inde contemporaine : du script à la mise en théorie du mouvement." Paris 10, 2001. http://www.theses.fr/2001PA100025.
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La these explore la multitude des procedes des cineastes de bollywood (bombay hollywood) pour elaborer l'objet filmique. A partir d'une triple implication (en tant qu'assistant de realisation dans une equipe indienne, puis acteur et doubleur), l'ethnographe cherche a comprendre ce que "voir en plans" (shots) veut dire et choisit de se deplacer avec le film en train de se faire, des debats intenses que se livrent les cineastes indiens autour du script a la mise en livre du "mecanisme cinematographique de la pensee" (bergson) dans un manuel d'apprentissage local, en passant par les interactions bouillonnantes du tournage, le montage, le doublage, une ecole d'acteurs, le marche au film, la mise en affiche et la projection. L'interet d'un tel objet tient sans doute a son caractere compose, dynamique et eternellement fluctuant. Il en resulte que faire l'histoire du processus cineamtographique a bollywood, ce n'est pas seulement rendre compte d'un mouvement de re-configuration parfois imprevu, de la coalition d'univers de methodes unis par une communaute d'objet (le film) mais neanmoins decales (ecriture, camera, montage, projection). C'est aussi suivre la mise en place d'assemblages mobiles entre les composants de l'interaction (accessoires, musiques, costumes, acteurs, mots, etc. ) parmi lesquels certains s'accouplent tandis que d'autres font boule pour constituer des "heritages" contraignants, ainsi que les manieres de reflechir cette mobilite au coeur et a la peripherie du processus.
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Dawson, CiaraÌn P. "Peadar OÌ GealacaÌin : file agus scriÌobhaiÌ." Thesis, University of Ulster, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422898.
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Cavaliere, Sandra <1977>. "Gli scritti giovanili di Cesare Pavese." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/33/.
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Gölz, Hanna [Verfasser]. "Fernsehrealität und Realitätswahrnehmung : Eine Untersuchung zum Einfluss von Scripted-Reality-Sendungen auf Erwachsene / Hanna Gölz." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2018. http://d-nb.info/1160308578/34.
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Gölz-Weis, Hanna [Verfasser]. "Fernsehrealität und Realitätswahrnehmung : Eine Untersuchung zum Einfluss von Scripted-Reality-Sendungen auf Erwachsene / Hanna Gölz." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2018. http://nbn-resolving.de/urn:nbn:de:101:1-2018053009214275410910.
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Hsu, Li-Hsin. "Emotional Perception of Death in Animated Films : Sentiment Analysis of Coco and Soul’s Scripts and Reviews." Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445901.
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This thesis aims to understand the emotions expressed by adults watching animated films with death topics through sentiment analysis. The research is a quantitative sentiment analysis from the perspective of distant reading. The previous studies on death scenes in animated films have only focused on child audiences. However, the age group of the audience of animated films is extensive; thus, it is necessary to analyse the sentiments of adult audiences. This thesis attempts to collect two movies produced by Pixar studio: Coco (2017) and Soul (2020), as well as their audience reviews on IMDb, a total of 600, for cross-comparison. Additionally, it analyses the content containing death in the reviews to understand better adult audiences’ emotional expressions on the subject of death. The analysing results show that the positive sentiment scores of the comments containing death are slightly lower than the scores of all the reviews, and the scores of the negative sentiments do not differ much. However, positive emotions still dominate these comments that contain death. The emotional performance between the script and the reviews is roughly similar. Still, the emotional intensity of the comments is higher than that of the script, indicating that the audience is willing to show their emotions on the public online film platform. Future research is recommended to conduct analysis together with other NLP analysis methods or close reading to explore more details of the content.
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Cheng, Shing-yip, and 鄭成業. "A contrastive investigation of the use of interjections by male and female speakers in Cantonese and English play, film and televisionscripts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26760009.
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Smith, Donna Lee. "Mombasa days : a feature-length film script." Thesis, 1989. http://spectrum.library.concordia.ca/3713/1/ML51331.pdf.
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宋淳. "A Critique essay on the film script ." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/qj27t3.
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Chen, Yu-Hau, and 陳昱昊. "Writer’s Notes on the Film Script \"Splitting\"." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/99275k.
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Wei, Jacelyn, and 韋徵. "Writer’s Note on Film Script “Brizo Town”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6jm9rm.
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碩士國立政治大學
傳播學院傳播碩士學位學程
106
Revolved around the story of Benjamin with his friends and family, “Brizo Town” depicts the life of a group of Fresh Off the Boat high school students who long for a sense of belonging. While facing challenges and conflicts, the students supported each other and grew through their pursuit of friendship, love, and purpose. The life of a FOB entails difficulties and struggles, the story of “Brizo Town” hopes to give consolations and directions to those who may have become lost in their own similar journeys.
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Wang, Li-Wen, and 王莉雯. "A Critique Essay on Film Script SURVIVING HAI." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6mf29m.
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碩士國立臺北藝術大學
電影創作學系碩士班
103
Set in a fishing village, Surviving Hai is a crime film that combines three genres, including “crime”, “detective” and “murder mystery”. In the story, a pathologist, Chou Chien-sheng, arrives in a remote isolated fishing village to investigate a self-immolation incident that happened during a protest against a petrochemical corporation. But to his surprise, he not only accidentally discovers some mysterious fluorescence in the body but an implication of a murder and insurance fraud. After a lengthy investigation, Chou comes to realize that the whole village is trapped in a big lie carefully constructed by the government and the petrochemical corporation. Consequently, Chou gets himself into a life-threatening crisis. During his fight against the dark forces, Chou becomes more and more courageous. In the end, his strong sense of justice liberates the villagers from a war of money and power. The estimated running time of the film is 110 minutes. The main plot centres on how the pathologist solves all the mysteries while two subplots, including one that reveals the conflicts the villagers face when battling for survival and the other that shows the arguments between Chou and his prosecutor ex-girlfriend over the idea of justice are unfolded at the same time. The core concept of this script is inspired by Michael Clayton (2007), and the structure and the genre are influenced by The Constant Gardener (2005). Shot in the form of a thriller, serious matters such as environmental pollution and the collusion between the government and corporations are conveyed in the film. It is hoped that while the audiences enjoy an entertaining commercial movie, they will also think about environmental protection issues. The background of this thesis is set against the oil and petrochemical pollution on the Taiwanese coast and the fishermen’s plight. The research methods adopted in this project include in-depth interview, field trip and literature review. By these means, the information on the work of public prosecutors and pathologists, the landscape of Kaohsiung Port and the petrochemical pollution along the Taiwanese coast is collected. This thesis documents the process of how the script was initiated and how it evolved from a concept to the third draft. In the last chapter, the author provides the conclusion of the self-assessment of the script and suggestions for further improvement.
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Shu, Wei Chieh, and 舒偉傑. "The Film Script and Description of "Feng Chun"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/naau9z.
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碩士國立政治大學
廣告學系
104
"Feng Chun" is an original movie script. The story is about how the mainlander family fled away from war to Taiwan, and how they face life’s problem, conflicts and relationship. The thesis consists of three parts: the literature review, script and appendixes. In the first part, the background of the story is mentioned, and then documents of the female mainlanders in their family and the conflict between mother and son/daughter are researched and filed. And the following are the life story of each role and the plot design. And then an overview of the script writing is presented. In the end, the outlined plot of "Feng Chun" is displayed in appendixes.
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HSIN, HSIAO-LAN, and 辛曉嵐. "A Critique Essay on the Film Script AGAPE." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/c464u4.
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碩士國立臺北藝術大學
電影創作學系碩士班
105
Agape is a script for a full-length dramatic film. It is a day in the life of protagonist Ying-Wen, spent on a small island. Ying-Wen, 35, has lost the sense of direction in his life after both of his parents died from illness. His cousin invites him back to the island of his childhood to look after his aunt and her stroke-stricken husband. He gets reacquainted with his first love and a good friend from high school. Emotions stirred up by these different kinds of love and attraction (familial, friendly, and physical) produce sparks which rekindle his passion for life. After a near-death experience while drowning, Ying-Wen is born again and opens his heart once again to love. The film is an encouragement to “love as if you had never been hurt before.” The plot comes from the author’s real life experience. The author wants to take the reader on a journey to contemplate this question: Is life worth living if it is condemned to nothingness in the end? The movie is framed by a field survey in which psychological studies of bereavement are collected in order to better understand the protagonist’s mindset. The movie shares spiritual and stylistic affinities with such movies as Taste of Cherry, Good Will Hunting, Still Walking, and Before Sunset. Faced with life’s big questions, perhaps what we need is not an answer but a state of mind. The author wishes to create a heart-warming movie that is honest while eschewing naiveté or sophistication. Finally, the author’s desire is to continue writing stories which can stand on their own yet ultimately find their proper places in the grand jigsaw puzzle of life, in the spirit of Annie Proulx when she wrote Close Range.
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SHEN, PEY-JU, and 沈珮如. "A Critique Essay on the Film Script UNUSUAL." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/38504973353426469452.
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碩士國立臺北藝術大學
電影創作學系碩士班
105
"Unusual" is a story with elements from real cases in Taiwan society, in the genre of crime and detective film. The story describe police officer Ah-ching find out the truth about a case 20 years ago when he is investigating a serial killing case. However, statute of limitations of the old case has been passed. Could he seek out the lost justice from cracking the new case at hand? The author takes case study and literature view method as early research methods for the script. Case studies include human rights groups and the prisoner, clarify the major issue author wants to discuss, and the point of view of justice by discussing with the subject. Literature review include professional books, such as books written by the police and forensic professionals, and knowledge background books, such as Ma Chuanzhen's "criminal psychology research", and topic discussion books, among which Rawls "A Theory of Justice" has been studied as the main discussion direction. This thesis explores how the differences among film genres influence the main character to choose justice, according to Juan José Campanella's "The Secret in Their Eyes" (2009). In addition, the discussion compared the related film from the United States, South Korea, Japan, Europe, and defined criminal detective film genre and its elements.
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Saeed, Zanjani Ali. "Screenplay : movie script or literature." Thèse, 2006. http://www.archipel.uqam.ca/875/1/D1364.pdf.
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L'existence de centaines de scénarii dans les librairies, qu'il s'agisse de nouveaux textes ou de rééditions de textes plus anciens comme celle de Citizen Kane, prouve que les scénarii sont lus pour leur valeur littéraire et non pour les seules indications techniques en vue de la réalisation filmique. Malgré ce fait, la nature du scénario en tant que genre littéraire autonome, à la fois fictionnel et narratif, n'a pas été sérieusement identifiée et étudiée. C'est le sujet que nous essayerons d'examiner dans la présente recherche.
Il existe un consensus parmi les spécialistes des études cinématographiques et les scénaristes pour admettre que le scénario est une sorte de guide pour la réalisation d'un film, un modèle à partir duquel les réalisateurs, les acteurs et les techniciens peuvent travailler. Ils rejettent l'aspect
«oeuvre littéraire» du scénario parce qu'à leurs yeux celui-ci manque de «mérite», et trouvent la conception artistique de l'écriture scénaristique
«provocatrice» plutôt qu' «évocatrice.» Cependant, bien que leurs critiques n'hésitent pas à rejeter la valeur littéraire du scénario, elles ne clarifient pas le terme «littérature.» Qu'est-ce que la littérature?
Dans son livre, Qu'est-ce que la littérature? Jean-Paul Sartre répond à cette question. Il reconnaît que l'acte littéraire dépend d'un grand nombre de facteurs: le goût personnel, le but de l'écriture, mais aussi l'histoire, le temps, les conventions et beaucoup d'autres choses encore. En d'autres termes, il n'y a aucune définition et description concrètes de la «littérature.» «L'art de l'écriture» est aussi ouvert et souple que n'importe quelle convention sociale. Nous croyons, en ce qui nous concerne, que le scénario est un genre littéraire parce qu'il propose une structure linguistique spécifique. Connaître les éléments qui forment la langue artistique du scénario et la manière dont ils fonctionnent est la clef pour entrer dans une relation littéraire avec le scénario. Que l'on apprenne la nature de ce langage, et notre perception du scénario changera. Etudier les caractéristiques de ce langage, tel est l'objectif de notre recherche.
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Chiang, Hsiu-Chiung, and 姜秀瓊. "A Critique Essay on the Film Script “A Wave”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/za4cnq.
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碩士國立臺北藝術大學
電影創作研究所
98
ABSTRACT The film script “A Wave” is an original film script. The story is about an art major student Xiao-po, who falls in love with his art history teacher Wen-chi. However, Wen-chi loves Zi-yi, who is a hair stylist. By developing the love affairs among these three young people, the play describes how these three searches for the meaning of their own lives. The writer digs up the potential meaning behind the play write by creating this critique essay, which is to break the restrictions within the society. And return to human nature. Moreover, hope for people to accept the differences between each other. The writer follows the nature of the roles and gives each of them a persuading characteristic. When the roles come to life, the writer follows their footsteps to observe what is happening in their lives and takes the elements to make into a story. The film script contains themes to lead the discussion to love, death, sea, ritual, education and gender. In the second chapter, the writer describes how the script begins to form and the process of the script’s outline. In chapter three, the writer analyses the meaning of the themes in the script. In chapter four, the writer compares the emotional expressions in the movies Jule and Jim, The Rider, La rayon vert, and Villa Amalia to the script. In chapter five, the writer explains that the script does not follow the rule of three-act-play but develops by the content. This chapter also contains the background information of the roles.
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Chen, Wan-Yu, and 陳宛妤. "A Critique Essay on the Film Script "Bus Stop"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/tc643h.
Full textAbstract:
碩士國立臺北藝術大學
電影學系碩士班
98
"Bus Stop" is the film script of a true story. The script opens with a belated wedding banquet and traces the couples’ ups and downs in their married life. The story line, forty-five years of it, includes threads of the past brought to light in the present. The script is realistic. It possesses a warm, touching and humorous tone in its representation of the local atmosphere and the landscape of Taiwan. The native Taiwanese dialogue is authentic. It is also innovative in that it replaces the traditional linear three-act structure with an interlinking narrative wandering through different time zones and places. In so doing the storyline endows the movie with two distinct artistic voices: the realistic style of a documentary film and the characteristics of a nostalgic and engaging movie. The opening scenes of the film are deliberately exaggerated into a composition of the 1960s beauty fashion. Thereafter, the simplistic style of 1970s distinguishes the emotional plots, accompanied by the narrative as subplots, building a strong feeling of folkways. It is a film for Taiwanese as well as for wider strata of Chinese communities. This critique illustrates the inspiration and writing process of this script in a literature review and discusses the subject “persistent Taiwanese traditional women,” locating the script in specific genres comparing it with related works of that genre. The critique also adopts a systemic analysis on the narrative structure and characters and pragmatically shows the prospective plan and schedule of this project.