Relevant bibliographies by topics / Screenplay

Academic literature on the topic 'Screenplay'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Screenplay"

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Rudolph, Pascal, and Claus Tieber. "Screenwriting sound and music: Towards a new field of study." Soundtrack, The 15, no. 1 (November 1, 2023): 3–8. http://dx.doi.org/10.1386/ts_00023_2.

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Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production – the screenplay – has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed limited interest in the acoustic dimensions of film, creating a research gap where film music studies intersect with screenwriting studies. This Special Issue aims to address this gap by emphasizing the screenplay’s importance in comprehending the role of sound and music in film. This introduction showcases the diverse ways in which music and sound are integrated into screenplays. The ongoing exploration of screenplays for the analysis of sound and music sets the stage for future research endeavours. The editors and authors of this Special Issue advocate for the screenplay as a valuable resource in film music studies, providing innovative insights into the film production process.
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Goncharenko, Alexander A. "Between ideology and literature: the discussion of screenplays in the USSR in the 1930s." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 27–36. http://dx.doi.org/10.17816/vgik11127-36.

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The essay deals with the gradual cessation of discussions of the theory of the iron (rigid) screenplay (championed by Vladimir Sutyrin and Mikhail Bleiman) and the theory of the emotional screenplay (developed by Sergei Eisenstein and Aleksandr Rzheshevsky) As these two theories were discussed by very different personalities, their institutional or group identification is complicated. In the second half of the 1930s, Boris Shumyatsky and Bella Kravchenko developed the concept of the ideological screenplay. The main apologist of the ideological screenplay theory was Valentin Turkin. He expounded it in the book The Dramaturgy of Cinema in 1938. The same historical period saw the development of the practice of publishing scripts in and periodicals and as books, as well as the phenomenon of recording screenplays from films. Turkin stood on a radical literature-centric position: "The film can be better or worse than the screenplay, but there is a screenplay next to it with which it can be compared. ... With this screenplay, you can make a picture again and again. Finally, it can be printed, brought to the attention of the viewer, give the viewer the opportunity to compare the film with the screenplay, and read the screenplay without watching a movie .... The screenplay can and must be always a verifying artistic document". If the screenplay expressed the ideology of the film, then it was not only an independent but also a more important work than the film itself. The screenplays specificity developed in three stages: 1) the prevalence of the iron screenplay in the 1920s; 2) the fashion for the emotional screenplay and the beginning of the publication of screenplays in periodicals and in book form; 3) the formation of the concept of the ideological screenplay. In the Soviet culture of the 1930s, literature was considered as the primary source of ideas. Other arts played the role of copies, dramatizations, interpretations, etc. Moreover, in a number of statements, although it appears to be the goal of screenwriting, the film already exists as something that a screenwriter can write down with a certain degree of precision and excitement. The research of the genesis of the ideological screenplay conducted for this essay has been based on rare periodicals and the archive of the All-Russian Society of Playwrights and Composers (Vseroscomdram). Numerous examples cited in the essay demonstrate the features of literature-centric thinking. And such materials as articles published in periodicals and lively discussions provide well-known patterns with vivid details.
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Winer, David, and R. Young. "Automated Screenplay Annotation for Extracting Storytelling Knowledge." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (June 25, 2021): 273–80. http://dx.doi.org/10.1609/aiide.v13i2.12994.

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Narrative screenplays follow a standardized format fortheir parts (e.g., stage direction, dialogue, etc.) including short descriptions for what, where, when, and howto film the events in the story (shot headings). We created a grammar based on the syntax of shot headings toextract this and other discourse elements for automatic screenplay annotation. We test our annotator on over a thousand raw screenplays from the IMSDb screenplay corpus and make the output available for narrative intelligence research.
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Koschany, Rafał. "From a Literary Work to a Movie and Back. Literary and Literary Studies Contexts for the Art of Screenplay." Tekstualia 1, no. 60 (May 5, 2020): 43–54. http://dx.doi.org/10.5604/01.3001.0014.1361.

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Screenplays are a paradoxical and ambivalent phenomenon. On the one hand, a screenplay is a literary genre and its development attests to the process of its emancipation from the power of fi lm and fi lm theory. On the other hand, however, the screenplay read as the text „is becoming a movie” already during the act of reading. The screenplay – as a quasi-literary phenomenon – can be a useful and inspiring tool in fi lm interpretation, as it opens up a variety of methodological possibilities.
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Brickey, Russell. "Art in the ‘big print’: An examination and exercises for cinematic prose writing style." Journal of Screenwriting 12, no. 2 (June 1, 2021): 227–42. http://dx.doi.org/10.1386/josc_00061_1.

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Guides to writing screenplays worry most about plot sequence, character development and the dialogue. Yet, the ‘big print’ is a necessary part of any screenplay and as an educator I work with my screenwriting students to learn how to craft the big print so it is both powerful and minimal. This article is an examination of the art and style of screenplay prose; in particular, I use the screenplays of Arac Attack (released as Eight Legged Freaks), Aliens and Platoon as distinctive examples of diegetic writing in order to illustrate variations of style and how these affect the progress of the script and further, how the encumbering big print forecasts the overall tonal choices of the film. Each style discussed (minimalist, poetic/expansive and florid/expressionistic) is accompanied by suggestions for classroom or independent-study exercises meant to help develop movie writing style. Too long has the screenplay been seen simply as a blueprint for the final film; it is now time to begin appreciating the art of the written word in screenplay studies.
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Prokhorova, Elizaveta Vladimirovna. "Main expressive devices of the literary screenplay in Russian cinema of the 1990s." Человек и культура, no. 5 (May 2023): 29–38. http://dx.doi.org/10.25136/2409-8744.2023.5.44041.

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The article explores the means of literary expressiveness used in the literary screenplays of film screenwriters of the 1990s. The literary screenplay, characterized by the extensive use of literary devices, became an educational and production standard of Soviet cinema from the 1930s. All elements of this form are subservient to the goal of subsequent screen embodiment and are directly related to the issues of the future film. In the 1990s, the transition from the state-controlled Soviet film production system to the producer model led to a shift towards the American screenplay, whose dry and concise language was radically opposed to the stylistic uniqueness of the literary screenplay. Some of the last debutants among the graduates of VGIK, who received their education in accordance with the Soviet model of teaching film dramaturgy (P. Lutsyk and A. Samoryadov, R. Litvinova, A. Balabanov), develop in their screenplays a complex set of techniques aimed at reflecting their contemporary issues through the formation of the film's chronotope, speech characteristics of the hero and their image using literary means – syntax, through which the spatial-temporal unity of the screenplay is organized, replicas, the score of the role, and the logic of editing and camera work (scale, angle, point of shooting) are created. These structural elements are inseparable from screenplay as a type of text. The author comes to the conclusion that the development of methods for their presentation in the screenplay text by the authors of the 1990s significantly influences the subsequent development of Russian screenwriting.
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Breed, C. A., and S. F. Greyling. "’n Ondersoek na ’n werkswyse: die herskryf van ’n komplekse Afrikaanse roman na ’n draaiboek." Literator 31, no. 2 (July 13, 2010): 83–116. http://dx.doi.org/10.4102/lit.v31i2.48.

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An investigation into a methodology: the adaptation of a complex Afrikaans novel into a screenplay Very few Afrikaans films are currently being produced. One of the possible reasons for this phenomenon could be that very few Afrikaans screenplays are written nowadays. There are, however, some good Afrikaans novels which could conceivably become commercially successful films, provided they were properly adapted into screenplays. In this article, the methodology that was used by an aspiring Afrikaans screenwriter to adapt the Afrikaans novel, “Die swye van Mario Salviati”, by Etienne van Heerden, into a screenplay, is discussed. The purpose of this study was to investigate a particular writing method that can be used by screenwriters to adapt an Afrikaans novel into a screenplay. The investigation included a practical application, giving the writer an opportunity to test the validity of the methodology. The various phases of the investigation and the adaptation itself are discussed in the article, and the efficacy of the methodology is evaluated.
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Goodare, Lee. "‘I wasn’t open to notes’: S. Craig Zahler, Dragged Across Concrete (2018) and the 157-page screenplay." Journal of Screenwriting 13, no. 1 (April 1, 2022): 5–24. http://dx.doi.org/10.1386/josc_00080_1.

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Drawn to its distinctive narrative style and length, in this article I examine writer-director S. Craig Zahler’s third feature screenplay, Dragged Across Concrete. I focus on Zahler’s authorship and creative writing, which flouts many screenwriting conventions. Zahler’s screenplay, totalling 157 pages, is considerably longer than the recommended length of 90‐120 pages and it is examined and contextualized here via discussion of length, style, character, scenes, genre and dialogue. This analysis contributes to the formal study of the screenplay as a source text and aims to counter what Steven Price has termed the ‘screenplay’s near-invisibility in critical analysis’.
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Prokhorova, Elizaveta Vladimirovna. "Typology of literary script in Russian cinema of the 2000s." Человек и культура, no. 2 (February 2024): 106–20. http://dx.doi.org/10.25136/2409-8744.2024.2.70474.

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The study materials included screenplays by authors who made their debut in the 2000s: M. Kurochkin, I. Ugarov, V. Sigarev, A. Rodionov, A. Novototsky, V. Moiseenko, A. Zvyagintsev, and O. Negin. Since the 1930s Soviet film school had formed a specific type of screenplay, literary script, in which the visual identity of the future film is created through literary means. In the 1990s, a competitive type of script appeared in the Russian film production – it was American screenplay format which implied he abandonment of literary techniques. By the 2000s, Russian film dramaturgy was influenced by three tendencies: the Soviet tradition of the literary screenplay, the new Western American screenplay, and contemporary theatrical dramaturgy of the turn of the century, whose authors began to experiment with cinema during this period. The study of the cinematic language of literary screenplays is conducted using a structural-semiotic method. Elements of cinematic language are analyzed: speech, voice-over, actor's score, character action in the frame, composition. The results of the analysis allow us to conclude the emergence of two new directions in Russian film dramaturgy. The poetics of literary screenplays by authors who transitioned to cinema from theatrical dramaturgy manifest in a quest for documentary realism in characters and their speech, proposed circumstances, setting, and plot, which is reflected in lyrical remarks. The techniques they use, including the theatrical technique of verbatim, have a tremendous impact on contemporary Russian cinema. The concise language of the American format, traditionally associated with the producer model of production, finds its reflection in the authorial film dramaturgy of A. Zvyagintsev and O. Negin, aiming for precision and conciseness in the staging plan. This split marks the actualization of the problem of form, which was acute in Soviet cinema in the 1930s.
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Figueiredo, Camila Augusta Pires de. "Henson and Juhl’s Tale of Sand: From lost archive to graphic novel and illustrated screenplay." Journal of Screenwriting 13, no. 3 (November 1, 2022): 299–311. http://dx.doi.org/10.1386/josc_00102_1.

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In the interval between the production of the short films Time Piece (released in 1965) and The Cube (released in 1969), Jim Henson and Jerry Juhl wrote the first draft of Tale of Sand, with the aim of adapting it into a feature-length film one day. However, both Henson and Juhl eventually became involved in other projects, so their manuscript remained forgotten for several years and the film was never produced. Found after some decades in The Jim Henson Company’s archives, the screenplay was adapted into an award-winning graphic novel in 2011 and three years later it was published as an illustrated screenplay, both with illustrations by Ramon K. Pérez. In this article, I analyse the graphic novel as an adaptation of the original screenplay, briefly focusing on how it combines different media types and production paratexts. Then, I examine the illustrated screenplay, its medial characteristics as well as its relevance within the adaptive/editorial project. The investigation considers the cultural and economic contexts of production and publication of screenplays, and their impact on adaptive choices and practices.
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Dissertations / Theses on the topic "Screenplay"

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Connors, Melanie R. (Melanie Rose). "Chutzpah: A Screenplay." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501215/.

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CHUTZPAH is a romantic movie set in Manhattan. The events surrounding the death of a wealthy eccentric cumulate into a farcical search for the old man's fortune when it is stolen shortly after his funeral. Ellen, the protagonist, hires a detective to find out who stole her grandfather's money (a substantial sum of which was willed to her). As Mark, the detective, works on the case, a relationship between him and Ellen develops, and the search for the money becomes secondary. Ellen's charm and her relationship with her zany Yiddish relatives endear her to Mark while they together find chutzpah in disaster.
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Watson, Todd Lincoln. "Turnabout : A Screenplay." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278696/.

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Turnabout, a feature-length screenplay with an accompanying critical essay, is the story of Michael Houston, a successful stockbroker in his late twenties whose unlikely romantic rendezvous with a bohemian art dealer leads him to realize that finding love often begins with a soul-searching journey into oneself.
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Glenn, Elsa Marguerite Henriette. "Screenplay: Schedule 7." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20057.

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This creative project and essay for a Masters degree in Media Theory and Practice is focused around the design of a South African TV series called 'Schedule 7' which is set in Cape Town's south peninsula in a (fictional) non-governmental, psychiatric clinic. The premise is that a troubled handful of patients' perspectives on life change after they encounter what they believe to be God's salvation when they accidentally almost burn themselves to death. The format follows their endeavours to follow and serve God, who they term 'GOGO' (God of Goodness Only), with mixed results. The format is an hour slot comedy-drama series designed for television broadcast (in that it is structured around commercial breaks). A comprehensive series bible is included, as well as two full sample episodes: the pilot and episode 3.Accompanying the creative components, the academic research essay firstly looks at the significance of mental illness: particularly in terms of stigma, South African context and places of treatment. It argues that an NGO psychiatric clinic makes for an interesting setting for a TV series as it allows characters from a range of socio-economic backgrounds to be rendered equal in power and united under a 'patient' status. This section also looks at mental illness intersecting with religion or faith. Secondly, the essay gives an overview of trends in and significant instances of on-screen representations of mental illness for which it offers a critique. Thirdly, in light of the issues raised surrounding mental illness, religion and the strengths and weaknesses of on-screen fiction around the subject so far, it offers an explication of the creative choices made in the design of the TV series, which were made with the aim of a resulting TV series that is enjoyable, relevant, diverse, and open-ended in its exploration of both experiences of mental illness and religious perception and practice.
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Buchholz, Robert Henry. "Triathlon: an Original Screenplay." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504205/.

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A young man, out of college and work, sets out to make his mark on the world, by winning the endurance sport of the eighties: the Hawaiian Ironman Triathlon. As he eats, sleeps and breaths "Ironman," he shuts others out of his life because he feels that he must do it alone for the victory to be genuine; a philosophy that has been dogging him all his life.
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Su, Xinxin. "Genesis : a feature screenplay /." Online version of thesis, 2009. http://hdl.handle.net/1850/8692.

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Fawns, Kathleen Mary. "Mater Hill : a screenplay." Thesis, Queensland University of Technology, 1999.

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Mater Hill is loosely based on a true story. Liz has always craved and been denied her mother's love. After several years of trauma caused by losing her mother in a boarding house fire, she discovers that arson was involved and investigates, seeking justice. When she mediates with her mother's killer, she effects an emotional substitution. They fall in love and she persuades him to help her convict the main culprit. Even before the trial fails, she begins to reject him, psychologically completing the process of her own separation and individuation. Once Liz has this stronger sense of self, she can experience real compassion for the arsonist.
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Ritchie, Brendan. "CooperStreet' (original screenplay); and, Into the foreground : an examination of setting in the screenplay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/456.

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This thesis in Creative Writing consists of an original feature-length screenplay and an essay examining the function of setting within the screenwriting discourse. The screenplay, titled 'Cooper Street', is set in future Perth where rumors of an alien presence threaten to disrupt the state's lucrative mining industry. Setting plays a key role within 'Cooper Street'. Scenes are set across giant sweeps of desert, inside sea containers converted to inner-city housing, and within raging sporting crowds to create a believable projection of life in future Western Australia. These characteristics facilitate the accompanying essay, which explores the factors that inform decisions on setting. The topic of setting is approached on several levels. Initially there is an examination of the issue of originality. The possible advantages of using original settings, as opposed to the familiar or cliche is discussed, with several interesting findings. Secondary to this is an exploration of the relationship between setting and activity within a screenplay. Certain types of settings are suggested as being more conducive to activity, and the potential benefits of both active and passive settings are considered. Finally the issue of a setting's thematic potential is addressed. An active relationship is revealed between a screenplay's settings and thematic preoccupations. Examination of the creative implementation of this relationship confirms the potential for setting to be a defining force within screenwriting. Whilst several films are used as a reference within the essay, the main point of analysis will be 'Cooper Street'. Various decisions informing the selection of settings throughout 'Cooper Street' are examined within the theoretical framework outlined, with the aim of establishing a rationale in an area often overlooked by existing screenwriting manuals.
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Igelström, Ann. "Narration in the screenplay text." Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/narration-in-the-screenplay-text(616fca70-d82f-4ce8-b93b-ab8cfbb2da2e).html.

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This thesis examines the narration in screenplay texts. The aim is to explore how the screenwriter, through the screenplay text, communicates the potential film to the reader. The thesis thus situates the screenplay in a communicational context, and argues that the screenplay text is a means of communication. In many cases, the screenplay text is the writer's only means of communicating with a potential investor, thus determining whether the screenplay will fulfil its purpose of becoming a film. Using a communicational approach enables a close examination of the different extratextual and intratextual narrating voices that communicate the story and the look of the potential film. The thesis relates the screenplay text to narrational theories from literary and film theory, and proposes its own narrative communication model suited to the screenplay. The model places the various narrating voices on different narrative levels that show the voices' relation to the text, the fiction, and the scene. The communication model also identifies the voices' addressees. Through close readings of screenplay texts, the thesis examines how different narrating voices function and how they can be characterised. The discussions focus on how these voices use different techniques to narrate the story and indicate the look of the potential film. The discussions particularly highlight how the voices influence the readers' visualisation of the potential film, since this is a distinguishing feature of the screenplay text-type. Narration in the Screenplay Text is an important contribution to text-based screenplay research. It offers a unique approach and a clear terminology that creates a platform for future screenplay research.
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Nelmes, Jill. "The screenplay and the screenwriter." Thesis, University of East London, 2016. http://roar.uel.ac.uk/5173/.

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This critical appraisal is based on an overview of my published research on the subject of the screenplay between 2007 and 2014 when my most recent monograph, The Screenplay in British Cinema (BFI, 2014) was produced. The aim of my research has been twofold: to bring to academic attention the depth and breadth of screenplay writing as a written form, particularly within British Cinema, and to argue that the screenplay can be studied as a literary text.
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Cousins, Robert James. "The child star syndrome, a screenplay." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0019/MQ49139.pdf.

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Books on the topic "Screenplay"

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Damon, Matt. Good Will Hunting: A screenplay. New York: Miramax Books, 1997.

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Field, Syd. Four screenplays: Studies in the American screenplay. New York: Delta Trade Paperbacks, 2006.

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Field, Syd. Four screenplays: Studies in the American screenplay. New York: Delta Trade Paperbacks, 2006.

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Field, Syd. Four screenplays: Studies in the American screenplay. New York: Delta Trade Paperbacks, 2006.

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Field, Syd. Four screenplays: Studies in the American screenplay. New York: Dell Pub., 1994.

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Four screenplays: Studies in the American screenplay. New York: Dell Pub., 1994.

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Whelan, Graham. Screenplay. Dublin: University College Dublin, 2002.

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Harris, MacDonald. Screenplay. New York, NY: The Overlook Press, 2014.

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Russell, Anna. Screenplay. London: Film Education, 1999.

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Attali, Jacques. 1492: Screenplay. Paris: Mod Films, 1992.

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Book chapters on the topic "Screenplay"

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Markham, Peter. "Screenplay." In What’s the Story? The Director Meets Their Screenplay, 139–61. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367815363-22.

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Bang, James. "Screenplay." In Script Analysis, 1–2. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003138853-2.

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Wang, Jiaren, Regina Kanyu Wang, Storycom, Guo Qi, and John Shanahan. "Screenplay." In The Making of The Wandering Earth, 23–28. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003205920-4.

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Hurbis-Cherrier, Mick. "The Screenplay." In Voice & Vision, 23–44. 3rd edition. | New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315815893-2.

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Richards, Ron. "Screenplay Formats." In A Director's Method for Film and Television, 47–61. London: Routledge, 2023. http://dx.doi.org/10.4324/9781032645186-8.

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Batty, Craig. "Writing the Screenplay." In A Companion to Creative Writing, 98–114. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch7.

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Raynauld, Isabelle. "Reading a screenplay." In Reading and Writing a Screenplay, 204–15. London ; New York : Routledge, 2019. | “Translated by Magenta Baribeau and Terri Foxman.” | “Originally published in France as Lire et âecrire un scenario, 2nd edition, by Isabelle Raynauld.”: Routledge, 2019. http://dx.doi.org/10.4324/9781351068208-13.

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Crowell, Thomas A. "Creating a Screenplay." In The Pocket Lawyer for Filmmakers, 105–19. 3rd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003228479-12.

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Crowell, Thomas A. "Acquiring Screenplay Rights." In The Pocket Lawyer for Filmmakers, 121–57. 3rd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003228479-13.

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Myers, Scott. "The Screenplay Universe." In The Protagonist's Journey, 117–27. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-79682-2_7.

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Conference papers on the topic "Screenplay"

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Papalampidi, Pinelopi, Frank Keller, Lea Frermann, and Mirella Lapata. "Screenplay Summarization Using Latent Narrative Structure." In Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.acl-main.174.

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Chen, Mingda, Zewei Chu, Sam Wiseman, and Kevin Gimpel. "SummScreen: A Dataset for Abstractive Screenplay Summarization." In Proceedings of the 60th Annual Meeting of the Association for Computational Linguistics (Volume 1: Long Papers). Stroudsburg, PA, USA: Association for Computational Linguistics, 2022. http://dx.doi.org/10.18653/v1/2022.acl-long.589.

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Preu, Jacqueline, and Jörn Loviscach. "From movie to comic, informed by the screenplay." In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280720.1280828.

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Chiu, Ming-Chang, Tiantian Feng, Xiang Ren, and Shrikanth Narayanan. "Screenplay Quality Assessment: Can We Predict Who Gets Nominated?" In Proceedings of the First Joint Workshop on Narrative Understanding, Storylines, and Events. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.nuse-1.2.

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Iguma, Ayaka, and Masashi Yamada. "Correspondence Analysis on the Production Staff for the Anime Series Nintama Rantaro." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001768.

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Nintama Rantaro is a long running TV anime series in Japan, which is produced by a large number of staff members. In the present study, 228 episodes of this series were selected to analyze the relationships among the staff members and the elements in the episodes, using correspondence analysis and cluster analysis. Numbers of storyboard writers, animation directors, screenplay writers and directors, and factors of the stories, e.g., representative expressions, motions of the main characters and emotions of the main characters, were counted, and a cross-tabulation table was constructed. The results of the correspondence analysis of the table showed that a three-dimensional space illustrated the correlations in the table with the cumulative contribution ratio of 42 %. The results of the cluster analysis with Ward’s method showed four clusters. Each of the four clusters coincided to each quadrant on the plane spanned by the first two dimensions. In the first quadrant, an animation director Tsuyoshi Ichiki was plotted. In the same quadrant, fighting motions of the main characters were plotted. Tsuyoshi Ichiki is one of the most proficient anime directors for battle scenes. Therefore, this indicates that the animation of episodes which includes battle scenes is chiefly directed by Tsuyoshi Ichiki in Nintama Rantaro. In the second quadrant, experienced animation directors, Emiko Niiyama and Kazue Tamari were plotted as well as a screenplay writer, Mitsuharu Yoshida who frequently writes the screenplay for the initial episode of a season. Moreover, characteristic expressions in Nitama Rantaro, such as the escape of the soul from the body, use a regional dialect “bayai” instead of “baai”, and the appearance of a character with breaking the screen, were plotted in this quadrant. This implies that the experienced animation directors and the screenplay writer use characteristic expressions especially for the initial episode of a season. In the third quadrant, an animation director Setsuko Shibuichi, who previously directed animations with sad stories, was plotted. The sad emotion of a main character is also plotted in the same quadrant. This indicates that for a sad episode, Setsuko Shibuichi directed the animation. In the fourth quadrant, screenplay writers, Satoshi Kimura and Kazuko Iwasaki are plotted as well as an animation director, Yasuhiro Endo, and various directions of motions of the characters are also plotted. This means that they are proficient dynamic motions of characters. In this way, the relationships among the staff members and the elements of the anime episodes are clarified in the context of Nintama Rantaro.
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HWANG, KAO-SHING, YU-CHI KUO, and WEI-CHENG JIANG. "AN EDITORIAL PLATFORM FOR SCREENPLAY OF INTERACTIVE ROBOTIC PUPPET SHOWS." In CLAWAR 2015: 18th International Conference on Climbing and Walking Robots and the Support Technologies for Mobile Machines. WORLD SCIENTIFIC, 2015. http://dx.doi.org/10.1142/9789814725248_0010.

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Smokotina, V. A. "THE POETICS OF ABSURDITY IN E.L. SCHWARTZ’S SCREENPLAY «MARYA-ISKUSNITSA»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-111.

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Nakano, Yusuke, Hiroaki Ohshima, and Yusuke Yamamoto. "Film Genre Prediction Based on Film Content and Screenplay Structure." In iiWAS2019: The 21st International Conference on Information Integration and Web-based Applications & Services. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3366030.3366100.

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Wang, Depei, Lianglun Cheng, Hongwei Liu, Ruihao Li, Huilin Wang, and Hongrui Liu. "Script2Graph: Auto-construct Screenplay Text World by Mining Contextual Information." In 2023 IEEE 3rd International Conference on Software Engineering and Artificial Intelligence (SEAI). IEEE, 2023. http://dx.doi.org/10.1109/seai59139.2023.10217409.

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Pozhidaeva, Marina, and Ilya Makarov. "Information Extraction for Modeling Screenplay Evolution of Star Wars Fiction." In 2022 IEEE 20th Jubilee World Symposium on Applied Machine Intelligence and Informatics (SAMI). IEEE, 2022. http://dx.doi.org/10.1109/sami54271.2022.9780686.

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