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.
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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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Situmeang, Asima Trismawati, Saidin ., and T. Keizerina Devi A. "Legal Protection on the Moral Rights and Economic Rights of the Author of Film Script Writing Pursuant to Law No. 28 of 2014 Concerning Copyright (Analysis of Copyright Infringement Case by a Production House of the “ Benyamin Biang Kerok” Film)." International Journal of Research and Review 8, no. 8 (August 29, 2021): 731–39. http://dx.doi.org/10.52403/ijrr.20210896.
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Moral Rights and Economic Rights are Exclusive Rights that cannot be separated in relation to Copyrights. Copyright protects all forms of work, one of which is Film Script Writing as referred to in Article 40 paragraph (1) of Law Number 28 of 2014 concerning Copyright (UUHC). One of the forms of infringement on the copyrighted work of the film script is the reuse of the film script without the permission of the creator, resulting in the loss of the moral rights and economic rights of the creator. The problems in this study are: how to use the principles of Moral Rights and Economic Rights of the Author in claiming protection against Copyright infringement on Film Script Writing, how legal remedies can be taken in the form of legal protection for the Author of Film Script Writing used without permission, and how analysis of the Judge's decision on the violation of Moral Rights for the Creator in the dispute of the film "Benyamin Biang Kerok" based on the decision of the Panel of Judges Number 09/Pdt.Sus-HKI/Cipta/2018/PN Niaga Jkt. Pst. This research is descriptive analytical with a normative juridical approach. Qualitative analysis methods are used to process and analyze research data and then draw conclusions using deductive methods through a normative framework. The results of the research show: the use of the Principles of Moral Rights and Economic Rights of the Creator as a claim for infringement of Copyright is listed in Article 4, Article 5. This right will continue to exist and is eternally attached to the Creator and will continue to apply indefinitely. Legal efforts as a form of legal protection for Film Scripts that are used without permission are to follow the provisions in Article 95 to Article 109 of the UUHC, namely by preventing violations from occurring and through alternative dispute resolution through arbitration or through the Commercial Court. The Plaintiff's lawsuit was declared defeated by the Panel of Judges, due to lack of parties. But the production of the film "Benyamin Biang Kerok" is not determined as a violation of the exclusive rights of the Creator. This decision has not provided justice and provided legal protection for the Plaintiff as the author of the original manuscript and it is feared that the same violation will continue to occur in the future. Suggestions that can be given include: in providing explanations and strengthening the importance of the Creator's Exclusive Rights, it is necessary to have awareness, socialization and public education so as not to use other people's creations carelessly. Legal efforts to prevent infringement of film script writing is to conduct socialization in the film industry and other related creative industries. Against a decision that has not provided legal protection for the Plaintiff, the Panel of Judges must also determine that the defendant has violated the exclusive rights of the Plaintiff's written film script and stipulates compensation for the violation of exclusive rights committed. Keywords: Legal Protection, Moral Rights, Economic Rights, The Author, Copyrights,Film Script Writing.
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Bolton, Jonathan. "Mendacity, Rule Consequentialist Ethics and The Ploughman's Lunch." Film-Philosophy 26, no. 1 (February 2022): 26–43. http://dx.doi.org/10.3366/film.2022.0188.
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This article examines Ian McEwan's script for director Richard Eyre's film, The Ploughman's Lunch (1983), the title of which alludes to a deceptive, post-World War II advertising campaign that promulgated a false narrative about British tradition. McEwan's script, and Eyre's film adaptation of it, offer a prescient exposé of Britain's culture of mendacity in the 1980s in ways that draw on rule-consequentialist ethics to maintain that lying on the personal, professional, and political level has a pernicious effect on society. McEwan's work on the film also marks a crucial turning point in the author's career, one in which he first begins to explore complex ethical and moral conundrums that would figure prominently in his major fiction.
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Wahab, Azrin, and Noraini Abu Talib . "Malaysian Film Projects Network Mobilization." Journal of Social and Development Sciences 4, no. 2 (February 28, 2013): 61–68. http://dx.doi.org/10.22610/jsds.v4i2.736.
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Film project is a temporary organization that uses outsourcing to acquire it resources. This study aims to investigate how Malaysian film productions mobilize its network in pre-production stage. The objectives are to find out the main components in pre-production and factors that create network between the production and components. In Sweden it is found out that the factors creating network in film pre-production stage are Attractive Script, Established Network, Mentor, and Proficiency. 10 random Malaysian film producers are selected for qualitative interviews. It is found out that the factors creating network in Malaysian film pre-production are Strategic Script, Proficiency, Established network, and Internet. It is suggested that further research is carried out to develop a Strategic Script to penetrate Indonesian film market.
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Jaroszuk, Grzegorz. "Otwarcie filmu fabularnego, jego funkcje i znaczenie." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 233–51. http://dx.doi.org/10.14746/i.2017.29.14.
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Legendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson.
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Ogudov, S. A. "Narrative Distance in Screenplay: “The Heir to Genghis Khan” by Vsevolod Pudovkin." Critique and Semiotics 39, no. 1 (2021): 383–402. http://dx.doi.org/10.25205/2307-1737-2021-1-383-402.
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The article is devoted to the narratological analysis of a screenplay. A distance between a narrator and a story world that constitutes a narrative is studied in regard to a conception of screenplay not as an autonomous literary work but as a series of texts corresponding to various stages of preparation for a film shooting (in our case a libretto, a literary script and a shooting script). The comparison of the literary script and the shooting script of the film “The Heir to Genghis Khan” written respectively by Osip Brik and Vsevolod Pudovkin reveals the shift of the narrative distance, that determined the way the events were shown. During the transition from the literary script to the shooting script the narrative distance is decreased due to the director’s idea on the film and also due the industrial context of filmmaking.
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류훈. "Storytelling in film script - Focus on industrial feature films -." 한국문예비평연구 ll, no. 33 (December 2010): 7–40. http://dx.doi.org/10.35832/kmlc..33.201012.7.
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Wahana, Agung, Diena Rauda Ramdania, Dhanis Al Ghifari, Ichsan Taufik, Faiz M. Kaffah, and Yana Aditia Gerhana. "Breakdown film script using parsing algorithm." TELKOMNIKA (Telecommunication Computing Electronics and Control) 18, no. 4 (August 1, 2020): 1976. http://dx.doi.org/10.12928/telkomnika.v18i4.14849.
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Close, Ronnie. "More Out of Curiosity (Film Script)." Architecture and Culture 3, no. 1 (March 2015): 1–2. http://dx.doi.org/10.2752/205078215x14236574274104.
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محمد توم, أ. د. مجذوب بخيت, and أ. بهاء الدين محمد إبراهيم. "Documentaries and environmental issues in Sudan." علوم الاتصال 7, no. 3 (October 5, 2022): 1–42. http://dx.doi.org/10.52981/cs.v7i3.2699.
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This study, entitled" Utilizing documentary films for environmental issues in Sudan: semiotic analysis of film “looted Kingdom " aims to find out how documentary Films contribute to environmental awareness and social change and how its address the issues of environment in Sudan. The study also aims to explore the connotations and implicit dimensions that the images of this film carries.
The study uses a qualitative semiotic analytical approach based on the film script analysis.
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Lonngren, T. P. "‘...Insured against the tyranny of time’.Knut Hamsun’s last play and an unknown Russian film script." Voprosy literatury, no. 5 (December 19, 2018): 76–102. http://dx.doi.org/10.31425/0042-8795-2018-5-76-102.
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After a short summary of the story behind K. Hamsun’s play In the Grip of Life [Livet i Vold], its plot and stage history in Russia, the article proceeds to tell about an unknown film script. Cinematic adaptations of Hamsun’s books have always dominated Norwegian literature, while none of his dramatic pieces have made it to the screen. However, a film script was uncovered, an adaptation of In the Grip of Life: a play specially written for a Russian theatre. The script was found in the Russian State Archive of Literature and Arts, among the documents of Evgeny Sergeevich Khokhlov. Based on the history of filmmaking and relevant filmography, Khokhlov’s film script is not just the only attempt at film adaptation of a Hamsun play, but the first ever project based on a theatrical play in Russian cinematic history. Written almost 100 years ago, the script is far from perfect in the modern understanding of filmmaking; nonetheless, it has certain merits in the eyes of contemporaries. The very attempt to interpret the play by means of a nascent artistic genre may be considered a proof of its relevance to Russian audiences at the time.
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Arcana, Judith. "Poem as Notes for a Film Script." Affilia 18, no. 2 (May 1, 2003): 229–33. http://dx.doi.org/10.1177/0886109903251423.
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Smith, C. Jason. "Film Voices: Interviews from Post Script (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 74–76. http://dx.doi.org/10.1353/flm.2006.0017.
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Marini, Fitri, and Pardi Pardi. "MORAL VALUES IN JUSTIN ZACKHAM’S MOVIE SCRIPT THE BUCKET LIST." JOURNAL OF LANGUAGE 4, no. 1 (May 29, 2022): 119–29. http://dx.doi.org/10.30743/jol.v4i1.5209.
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Justin Zackham published the script for his film The Bucket List in 2007. The script tells the story of two men who have serious illnesses and have a strong desire to continue doing things they haven't done before they die. The film script was adopted into a film in 2008. This study aims to reveal the moral values contained in the film script. Various theories related to moral values were adopted to support this analysis, but the main theory that will be used is the theory proposed by Berterns. Another concept is proposed by Elizabeth stating that moral is controlled by the moral, the rules of moral to which the members of a culture have become accustomed to and which determine the expected behavior pattern of all group members. The method used in this study is a qualitative descriptive method. The results of the analysis show that the moral values found in the characters discussed, Edward Cole and Carter Chambers, are the values of courage, honesty, patience, responsibility, and humility. These moral values make the two characters successful and useful for many people.
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Martianova, Irina A. "The presence of the possible world of cinema text in the modern screenplay." Vestnik of Saint Petersburg University. Language and Literature 19, no. 3 (2022): 546–58. http://dx.doi.org/10.21638/spbu09.2022.309.
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The article analyzes the presence of the possible world of film text in A.P.Zvyagintsev’s and O.I.Negin’s screenplay Dislike. This text for the first time became the subject of philological analysis using comparative and contextual-functional methods. The director’s published comments allow tracing the path from the literary screenplay itself to the film text. As a result of the sampling of linguistic material, which reveals the presence of the possible world of the film text in the script, the specificity of its categories (integrity, coherence, completeness, dynamics, etc.) was revealed. The possible world of cinema text determines the a priori variability and uncertainty of the script text. The article reflects the features of the scenario functioning of lexical-grammatical and syntactic language means. The screenplay and the film text are interdependent, but not identical entities. It has been established that the development of the technical parameters of the film text has an indirect effect on the film script. One of the aims of the study is to critically analyze the notions that the screenplay does not have the merits of a literary text. In the course of analyzing the presence of a possible world of film text, the working hypothesis was confirmed that a film script is a text with a motivated violation of communicative and pragmatic norms (accuracy, relevance, expressiveness). It represents a new type of text, the anomalies of which are due to its intended purpose for semiotic translation into cinematic text, the diverse nature of its receptive program.
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Nathansohn, Regev. "A Film Never Completed." Anthropology of the Middle East 14, no. 1 (June 1, 2019): 108–24. http://dx.doi.org/10.3167/ame.2019.140107.
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This is a story and analysis of a film production that has never materialised. The case study features a group of neighbourhood residents who wished to produce a film representing their experiences of living in a mixed neighbourhood in the northern Israeli city of Haifa, where Jews and Arabs live together. The ethnography of their work documents the incommensurability between the social interactions within the group and the content of the film’s script. While the group dynamic reflected the mixing atmosphere of the neighbourhood, their script succumbed to the hegemonic discourse of separation in Israel and to steering away from ambiguities. The group’s aspiration to create a realistic representation required a political and visual language that was not available as an objective possibility and thus was challenging to imagine.
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Walsh, Richard. "Ready for His Closeup? Pasolini’s San Paolo and Paul, Apostle of Christ (2018)." Journal of the Bible and its Reception 6, no. 1 (April 24, 2019): 1–37. http://dx.doi.org/10.1515/jbr-2019-1004.
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AbstractThe article uses Sunset Boulevard (1950) and the cinematic Paul pattern to reflect on San Paolo, Pasolini’s script for an unrealized Paul film, and on Paul, Apostle of Christ (2018). Typical Paul films, including television and church-use productions, present Paul in terms of a repeated pattern including 1) a spectacularly conceived Acts, 2) his martyrdom, 3) hagiography, and 4) biopic film structure. Despite focusing on Luke’s writing of Acts, rather than the content of Acts, Paul, Apostle of Christ follows the cinematic pattern quite closely. Even though it follows Acts more closely, San Paolo deviates from the cinematic pattern extensively, primarily because it transposes Paul to modernity where Paul struggles weakly and apocalyptically, rather than spectacularly or hagiographically, against dominant institutions. Unlike most films about early Christianity, San Paolo is not about the triumph of Christianity. Sunset Boulevard makes a nice foil for Paul’s cinematic history and these two films specifically because of its story of a forgotten film star who fantasizes about a glorious cinematic return and because of its use of a dead, scriptwriter narrator to tell its story. Paul, too, still awaits cinematic celebrity. In San Paolo and Paul, Apostle of Christ, scripts, scriptwriters, and dead narrators dominate the tales.
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Hairi, Sohibul. "THE PORTRAIT OF CHARACTER BUILDING IN ‘TWILIGHT’ FILM SCRIPT THROUGH ETHICAL VALUES." Journal of English for Academic and Specific Purposes 2, no. 1 (June 22, 2019): 33. http://dx.doi.org/10.18860/jeasp.v2i1.7262.
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Literature is a social phenomenon that is associated with writers, readers, and related aspects of human life that is expressed in a literary work. In this view, when someone attempts to analyze drama script to comprehend more about the drama, to conduct a discourse analysis on drama plays a significant role in the success of the analysis. Script or screenplay is one of literary work. There is 18 character education in Indonesia according to Panduan Pendidikan Karakter, Kemendikas 2010. They are: Religious, Honest, Disciplined, Hard Working, Creative, Independent, Democratic, Curious, Nationalistic, Patriotic, Sportive and respectful, Inclusive and Communicative, Peace-loving, Studios, Caring and Compassion, Empathetic, Responsible. This study is aimed at two primary purposes: (1) to investigate the moral values in ‘Twilight’ film script, (2) to investigate the moral values to build someone's character. This study was carried out the script of Twilight film written by Melissa Rosenberg. To achieve two objectives, the data were analyzed by collecting and reviewing the document. After moral values have been collected, they are analyzed and categorized the moral values that could be implemented to build a student's character. The result of the research is that there are some moral values in Twilight film script that could be implemented to build student's character, they are (1) Honest, (2) Independent, (3) Curios, (4) Patriotic, (5) inclusive and Communicative, (6) peace-loving, (7) Empathetic and (8) Responsible. Those eight characters are a good character that could be implemented to build the students' character. Suggestion proposed based on the result analysis toward moral value in Twilight film script should be used as one of the references. In education, especially for teachers, it is imperative to build the students character
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Barnard, Timothy P. "Film Melayu: Nationalism, modernity and film in a pre-World War Two Malay magazine." Journal of Southeast Asian Studies 41, no. 1 (December 21, 2009): 47–70. http://dx.doi.org/10.1017/s0022463409990257.
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Prior to World War Two many of the Malay-language films released in Singapore and Malaya were made in Java and the Philippines. Beginning in 1940 the Shaw Brothers began producing Malay films in Singapore for distribution to their theatre network throughout Malaya. The first Malay film magazine, Film Melayu, which began publishing in May 1941, documented the production and release of a number of these pre-war films in Singapore, providing one of the few avenues for a better understanding of the origins of Malay cinema. More importantly, this periodical was firmly ensconced within the Malay publishing community and thus reflects debates over issues ranging from the proper script to use in publishing to technology and its relationship to the nation (or community, bangsa).
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Dart, Jon, and Philip McDonald. "A Perfect Script? Manchester United’s Class of ’92." Journal of Sport and Social Issues 41, no. 2 (December 23, 2016): 118–32. http://dx.doi.org/10.1177/0193723516685272.
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The Class of ’92 is a documentary film featuring six Manchester United F.C. players who recount their time during a pivotal period for the club, English football and English society. The documentary claims to offer a commentary on Britain in the 1990s, but appears, without acknowledging the fact, to be a promotional vehicle to establish the six men as a brand labeled the Class of ’92 (CO92). Creating this brand necessarily involved presenting a selective account of their time and places with the film being little more than an advertisement, masquerading as an observational documentary. The film draws freely upon the symbolic capital held by the club and the city of Manchester and uses the Busby Babes/Munich chapter and the more recent “Madchester scene” to forge the Class of ’92 brand by editing out those elements that did not accord with this project. The article argues that a more complete representation of ’90s Britain, while disrupting the intended narrative, would acknowledge the significant structural and commercial changes experienced by the club, the sport, and the city in the last decade of the 20th century. We suggest that the Class of ’92 invites the viewer to consider how the documentary film genre can contribute to brand development and promotion.
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Lotfy Mahmoud SAAD, Reem. "STORY TELLING AND ITS RELATION WITH FILM SCRIPT." International Journal of Creativity and Innovation in Humanities and Education 1, no. 1 (June 1, 2018): 1–23. http://dx.doi.org/10.21608/ijcihe.2018.182840.
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Jones, Kip. "On a Train from Morgantown: A Film Script." Psychological Studies 57, no. 2 (October 15, 2011): 224–35. http://dx.doi.org/10.1007/s12646-011-0123-9.
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Aaltonen, Jouko. "Script as a hypothesis: Scriptwriting for documentary film." Journal of Screenwriting 8, no. 1 (March 1, 2017): 55–65. http://dx.doi.org/10.1386/josc.8.1.55_1.
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Maras, Steven. "The Film Script as Blueprint: Collaboration and Moral Rights." Media International Australia 93, no. 1 (November 1999): 145–60. http://dx.doi.org/10.1177/1329878x9909300114.
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This article discusses and evaluates the definition of the film script as a blueprint which has come to play a prominent role in organising the relations between different film workers, as well as the ‘conceptual’ and ‘practical’ aspects of production. The article examines the implications of this idea in thinking about the process of production, its planning and execution, and its collaborative dimension. First formulated in a period of centralised ‘scientific management’, the article argues that, despite changes in the production context of film making, the blueprint idea continues to have a key place in narratives about creative control, and the organisation of work and materials. As a way of focusing the issues further, the strategic use of this idea in the context of an Australian Writers' Guild submission on moral rights is explored.
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Hall, Ann C. "The Act of Interpretation." Thornton Wilder Journal 3, no. 1 (July 1, 2022): 45–55. http://dx.doi.org/10.5325/thorntonwilderj.3.1.0045.
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Abstract This article discusses various ways to teach Thornton Wilder’s script and Alfred Hitchcock’s film version of Shadow of a Doubt (1943). While serving as a metaphor for academic research, Shadow of a Doubt is also rich enough to present students with the question of interpretation: How can one work create multiple, even conflicting, meanings? After introducing basic film techniques and literary terms, more complicated interpretive situations, such as Hitchcock’s problematic representation of women or the differences between script and film, may be considered. Students, like the film’s heroine, must investigate the evidence to find responses to these issues.
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Dawson, Jonathan. "Dazzled by the Sun: Corporatising Queensland Film Culture." Media International Australia 89, no. 1 (November 1998): 109–23. http://dx.doi.org/10.1177/1329878x9808900112.
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In the wake of economic rationalism and the failed cyber-fantasies of Creative Nation, there has been an increasing tendency towards the corporatisation of film funding bodies at a time when a loosening of self-defensive bureaucratic systems might have been expected. For example, the Film Finance Corporation has created increasingly complex ‘professional’ systems of management and has foreshadowed a ‘last stage’ script assessment process that has created dismay in industry guilds. After exhaustive prior script development (and many funding and script editing stops), a project will face yet another barrier immediately prior to shooting. In addition, the increasing invocation of ‘craft skills' themselves as somehow learnable and precisely quantifiable processes, has dug an even deeper moat around funding bodies. The winding down of Film Queensland and the enhanced corporatisation of the Pacific Film and Television Commission (even to office dress codes!) and incorporation of events such as the Brisbane International Film Festival into an Events Corporation are signs that many largely discredited constructs of The Market are still being applied — to strengthen the power base of the apparatchicks at the expense of their local clients. The events sketched in this paper are paradigmatic of over-regulated and inner-focused arts funding systems that have lost sight of who their real clients should be.
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Perelshtein, Roman Maxovich. "The conflict of the "Inner" and "Outer" Person as Film Art's Archetypal Theme." Journal of Flm Arts and Film Studies 3, no. 1 (February 15, 2011): 67–77. http://dx.doi.org/10.17816/vgik3167-77.
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Film art could not ignore such an important theme as the conflict of the inner and outer personality ascending to the New Testament paradigm. Script writers have treated this conflict by way of various antinomies one of which is hard to overestimate. It is the contradiction between reality and game. The tragic and cruel conflict of the inner and outer personality is directly related to the opposition between reality as the script of our possible real life and the game as the script of escaping life.
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Kirsch, Griseldis. "POST-SCRIPT FROM FILM STUDIES: Whose choice? Watching non-English language films in the UK." Multilingua 38, no. 5 (September 25, 2019): 619–24. http://dx.doi.org/10.1515/multi-2018-0118.
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Abstract In a market dominated by Hollywood, it is easy to overlook that the number of films (and televised productions) which are not in English is actually by far greater than those in English. However, although some non-English language film industries are vast, only a comparatively small number of productions are screened outside of their country of origin. Therefore, before being translated and brought to screens for us to watch, already a filter applies, as the films are chosen by curators of film festivals or the industry. For that reason, films that are perhaps less representative but more interesting, or by a well-known director may be chosen over others that may have been more successful in their country of origin, but are made by a less-well know director or perceived to be less interesting for ‘foreign audiences’. The choice of what we watch is thus never entirely ours. Using Japan, Germany and the UK as example, I will offer some thoughts on what impact such a filter might have on the consumption, and therefore the perception, of a film outside of its country of origin and what challenges this poses for audiences and researchers.
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Gurina, EKATERINA. "“ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY." Journal of Education Culture and Society 9, no. 2 (September 5, 2018): 218–25. http://dx.doi.org/10.15503/jecs20182.218.225.
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Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance.
Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production.
Results. The analysis shows that Konstantin Levin’s function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the influence of the film director during the film production.
Conclusions. Even though the study considers the texts that are closely interrelated, the individual author’s stance influences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word.
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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Brown, Daniel. "Wilde and Wilder." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 2004): 1216–30. http://dx.doi.org/10.1632/s0030812900101701.
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The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writes film scripts but, with his peers Betty Schaefer and Artie Green, also foregrounds narrative conventions in his efforts to organize and control his own life and experience in the film. Through its main characters, Sunset Boulevard presents an allegory of Hollywood cinema in which the complementary filmic principles of image and narrative culminate respectively in madness and death.
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Kusuma, Shinta, Hirwan Kuardhani, and Rukman Rosadi. "Penciptaan Peran Tokoh Xiau Mei dalam Naskah Senja dan Penantian Karya Hernandes Saranela Terinspirasi dari Film The Chinese Widow." Dance and Theatre Review 3, no. 2 (October 20, 2020): 82. http://dx.doi.org/10.24821/dtr.v3i2.4420.
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The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by The Chinese Widow Film. The script of Senja dan Penantian written by Hernandes Saranela, tells about the waiting of a Chinese descent girl waiting for her lover to return from the battlefield. This realism script of the play presents its challenges and requires a lot of references. The Chinese Widow film is a source of ideas. Ying's character as the main character is lovely because the play's depth brings out firm acting details. The actress made a series of observations and used the presentation approach to creating the Xiao Mei's character. The creation of this work aims to describe how the actress can portray the character's inner act by using Stanislavski's acting method. In her acting, the actress attains awareness of playing her roles to make the weakness of Xiao Mei's character's strength and uniqueness.Keywords: actor; acting; film
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Prokhorova, Elizaveta V. "From script to film: Renata Litvinova’s Non-Love and Valerii Rubinchik’s film." Studies in Russian and Soviet Cinema 14, no. 2 (April 21, 2020): 156–69. http://dx.doi.org/10.1080/17503132.2020.1751389.
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Sasongko, Hario. "Menciptakan Karakter yang Menarik dalam Penulisan Naskah Film." Humaniora 4, no. 2 (October 31, 2013): 1176. http://dx.doi.org/10.21512/humaniora.v4i2.3559.
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The main character in a movie is the central to the film itself. Generally, a movie tells the story of a specific character. The character can be drawn from figures that exist in the real world or a fictional character. Thus, the success of a movie is always directly proportional to the success of a movie script writer in formulating the main character in the movie. By the increasing of techniques of writing a story, it can be determined how to make characters to be interesting in a movie script.
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Lee, Sung-Ae. "Lures and Horrors of Alterity: Adapting Korean Tales of Fox Spirits." International Research in Children's Literature 4, no. 2 (December 2011): 135–50. http://dx.doi.org/10.3366/ircl.2011.0022.
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Core incidents and motifs in retellings and adaptations of Korean folktales about supernatural foxes, known as Gumihos, have coalesced into a common, readily recognised fox-woman script. Since the end of the 1980s, the fox-woman script has become a focus for cultural conflict. The traditional stories are acknowledged to be part of Korea's intangible cultural heritage, and as such have been retold conservatively to preserve that heritage (especially in picture books) or have undergone major reinterpretation in attempts to reshape that heritage and imbue it with contemporary significance. According to the fox-woman script, the Gumiho is humankind's monstrous other, but a variety of works in film or television drama have challenged the assumptions about alterity and monstrosity. This challenge first emerged when moral awareness was attributed to the Gumiho character, especially in conjunction with the narrative strategy of aligning perspective with her, of transforming her from object to subject, and demonstrating that humanity is evidenced by behaviour and not by race or social privilege. Subsequently, general audience television drama and children's film have explored homologies between a reworked fox-woman script and ethnic otherness, and have transformed the script into a narrative about cultural otherness that advocates an open and other-embracing society.
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Balčus, Zane. "ANSIS EPNERS’ FILM “ALIVE”: FROM DOCUMENTARY TO FICTION." Culture Crossroads 14 (November 9, 2022): 54–62. http://dx.doi.org/10.55877/cc.vol14.90.
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The first short documentary “Alive” (Dzīvs, 1970) is an important signifier of Latvian director Ansis Epners’ (1937–2003) oeuvre both in terms of his approach to documentary film practice, and growing interest in fiction filmmaking. The film “Alive” and later idea to develop a full-length fiction film based on its main character demonstrate Epners’ unconventional expression of both kinds of filmmaking, which was received with a mixed response at the time. Epners used performative elements in the documentary, and included real-life character playing himself in the planned fiction film, challenging the assumptions and conventions of filmmaking practices in Latvia at that time. In this article I will analyse Epners’ formal and stylistic choices in the film “Alive” and its reception in the early 1970s, and the script for the fiction film based on the main character of the film “Alive” Arnolds Cīrulis. The reception of “Alive” shows the contradictions between the dominant views on the documentary film form and Epners’ work. The fiction film script, which was not turned into film, remains as an example of versatility of Epners’ ideas on the potentials of fiction filmmaking.
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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (May 17, 2019): 64. http://dx.doi.org/10.3390/arts8020064.
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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.
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Hidayat, Didin Nuruddin, Leny Hikmah Rentiana, Alek Alek, and Yudi Septiawan. "THE USE OF DEIXIS IN WONDER WOMAN MOVIE (Penggunaan Deiksis dalam Film Wonder Woman)." Sirok Bastra 9, no. 1 (August 30, 2021): 35–44. http://dx.doi.org/10.37671/sb.v9i1.276.
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This research analyzes the use of deixis in the Wonder Woman script. It describes the types and the deixis in the Wonder Woman script performed by both the actors and the actresses. A qualitative method employing a descriptive analysis design was utilized. The data source of this research was collected by downloading the movie script from YouTube. The data were observed, transcribed, and categorized into some types of deixis. The result showed five kinds of deixis performed in the Wonder Woman movie: first person, second person, third person, temporal, and discourse. The research concluded that the most performed deixis to the least one in the Wonder Woman movie is the first-person deixis, followed by second-person deixis, discourse deixis, third-person deixis, and temporal deixis. Substantially, this research had shown that film also used deixis as its speech type related to the communication done in the real world, although the film used in this study, Wonder Woman movie, was a fictional one. Penelitian ini menganalisis penggunaan deiksis dalam naskah film Wonder Woman. Penelitian bertujuan mendeskripsikan tipe dan deiksis dalam naskah film Wonder Woman yang diujarkan oleh aktor maupun aktris. Penelitian ini menggunakan metode kualitatif dengan desain analisis deskriptif. Sumber data dalam penelitian ini dikumpulkan dengan mengunduh naskah film dari YouTube. Data diamati, ditranskrip, dan dikategorikan ke dalam beberapa jenis deiksis. Hasil penelitian menunjukkan bahwa ada lima macam deiksis yang terdapat dalam film Wonder Woman: orang pertama, orang kedua, orang ketiga, temporal, dan wacana. Kesimpulan dari penelitian ini menunjukkan bahwa deiksis yang paling banyak muncul dalam film Wonder Woman adalah deiksis orang pertama, diikuti oleh deiksis orang kedua, deiksis wacana, deiksis orang ketiga, dan deiksis temporal. Secara substansial, penelitian ini menunjukkan bahwa film ini juga menggunakan deiksis sebagai jenis tuturannya terkait dengan komunikasi yang dilakukan di dunia nyata meskipun film yang digunakan dalam penelitian adalah film fiksi.
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Enyedi, Delia. "Janovics’ Menace: inquiries into a duplicated silent film script." Studies in Eastern European Cinema 12, no. 2 (March 22, 2021): 109–20. http://dx.doi.org/10.1080/2040350x.2021.1898115.
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Szekely, George. "Teaching Students to Become Independent Artists: A Film Script." Art Education 58, no. 1 (January 1, 2005): 41–54. http://dx.doi.org/10.1080/00043125.2005.11651527.
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McGovern, Timothy Michael. "Visions of Mexican Cinema and the Queer Film Script." Discourse 26, no. 1 (2004): 127–47. http://dx.doi.org/10.1353/dis.2005.0018.
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