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Dissertations / Theses on the topic 'Screenplay'

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Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

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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2

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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3

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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4

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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5

Su, Xinxin. "Genesis : a feature screenplay /." Online version of thesis, 2009. http://hdl.handle.net/1850/8692.

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6

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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7

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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8

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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9

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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10

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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11

Hemann, Melissa. "The west Dallas gang a screenplay /." [Ames, Iowa : Iowa State University], 2008.

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12

Cousins, Robert James, and University of Lethbridge Faculty of Arts and Science. "The child star syndrome : a screenplay." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2000, 2000. http://hdl.handle.net/10133/97.

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13

Morrison, Bruce William. "Men who march away: A screenplay." Thesis, University of Canterbury. Languages and Cultures, 2008. http://hdl.handle.net/10092/1896.

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Men Who March Away is a story about men and war, an ancient narrative recipe. In particular, two men who share some traits in common with their fellows but in other respects are unique. King and country mean little or nothing to them. They don’t fight in defence of the hearth-fire as popular myth would have us believe. The First World War just coincided with the prime years of their life and appeared to them as a refuge from the torments in their personal lives. One of them, Richard Travis, is a taciturn, troubled loner, who assimilates easily into the Army and finds self-fulfilment on the battlefield. He wins New Zealand’s highest and most prestigious military medal, the Victoria Cross but is killed in action, before he knows of his achievement. The other is the socially marginalised yet quintessential rough diamond, James Douglas Stark, Starkie. He enlists to escape the police and resists assimilation into the Army. However, he does his bit on numerous battlefields, saves Travis’ life but receives scant recognition. Ending up in the same battalion, they’re forced into an uneasy alliance which makes them confront and alter their attitudes to each other and to their duty.

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14

Oey, Jennifer. "Practicing adaptation : one screenplay, five films." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/59196/.

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In this thesis I examine the relationship between a screenplay and the films made from it. I test the hypothesis that a film based on an original (not adapted from an existing text) screenplay is an adaptation of this screenplay. In order to investigate the potential range of adaptations that occur during the process of film production, I commissioned a short screenplay which was made into a film five times, by five different production teams, each entirely independent of one another. Utilising these films as my primary set of data, I engage in comparative analysis of the screenplay to the five films and of each of the five films to one another. My framework for analysis is grounded in adaptation studies, which has engaged in close comparative analysis of novel to film, but has not made significant inquiry into the discrete phase of adaptation between screenplay and film. Additionally, I argue that an investigation into the relationship between written and filmed creative work is ideally conducted by engaging with practice and practitioners. My thesis is therefore comprised of dual written and filmed components.

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15

Lyon, Alicia B. "The Offering : writing a historical screenplay /." View online ; access limited to URI, 2003. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/31115633.

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16

Nannicelli, Theodore. "Towards a philosophy of the screenplay." Thesis, University of Kent, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544078.

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17

Beck, Nathan. "Carbonville : excerpts from a novel and screenplay /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1456294761&sid=10&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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18

Saunders, Shahzneen Spencer. "From process to product : structuring the screenplay." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/36332/1/36332_Saunders_1999.pdf.

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The aim of this thesis is to make practical use of film narrative studies and script writing theory in order to research a method of constructing my own film screenplay. This thesis is divided into two major sections, the Process (Section I) and the Product (Section II) . The Process examines historical models of narrative, identifying characteristics of the western narrative construct, and how they relate to film storytelling and contemporary screenwriting. The theoretical underpinnings draw upon the branch of film theory known as narratology. The work undertaken in this section is about understanding the field of screenwriting and what repertoire of narrative devices, strategies and tools are available to an emerging writer. The Product (Section II) is a primary writing project, comprising a treatment for a feature film screenplay. The aim is to test principles of narrative construction and the applicability of certain features of screenplay models discussed in the Process section. The Product is about the process of making decisions and choices from a range of structural possibilities and crafting an original approach and story. A reflection on the creative writing processes concludes the section. The intention of the Product section is not only to produce a successful screenplay treatment but a text suitable for a funding or corrnnissioning program, such as the Pacific Film and Television Corrnnission's New Writers' Scheme, the Australian Film Corrnnission's New Screenwriters' Scheme, and the respective Drama Programs of SBS Independent and ABC-TV. The script treatment reflects a production budget of under one million dollars and therefore, is eligible for the AFC's low budget film development fund, Million Dollar Movies Fund, and the PFTC'S LOW Budget Feature Film Fund.

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19

Armanno, Venero. "Three screenplay adaptations and the ownership effect." Thesis, Queensland University of Technology, 2003.

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This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel, and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas. Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.

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20

Davison, Brad William. "The Narrative of Flippy Johnson: The Three Act Structure - Criticisms and Alternatives Script and Script Analysis." The University of Waikato, 2006. http://hdl.handle.net/10289/2454.

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In this feature screenplay, I have incorporated the complexities of an intertwining multi-strand narrative, while manipulating the materials of time and space. This has enabled me to begin my exploration into finding a suitable structure in which to tell a story that features a number of characters, all of whom are intended to represent some of human nature's darkest emotions. I have attempted to distinguish my script from the standard three-act structure. However, I do believe it is a fundamental requirement to know all the rules of a classical three-act structure in order to subvert its conventions. The three-act structure has long been a successful model for transmitting a story to the screen. It has provided the basis for many a film where a character triumphs over adversity; where good defeats bad and heroes fall in love. But what about characters that are not heroes? Protagonists who cannot be defined under the even broadest definition of heroism? Can these people thrive within the strict guidelines of a three-act structure, with its strong reliance on a hero's journey? Is there an alternative structure that can deal with these characters, a structure that can incorporate them in a narrative? This MA will attempt to answer these questions, while also investigating if the materials of time and space can be manipulated and understood when working outside the guidelines of a formulaic structure. The materials of time and space are unique to all films and they are both dealt with in different ways by screenwriters and filmmakers alike. Temporal and spatial characteristics have been studied in depth by many critics including, of particular importance to this MA, David Bordwell. Bordwell has used time and space as a way of making sense of narrative and of engaging with a film. This is something that I am attempting to achieve in the following script and commentary. Furthermore, I will try to articulate the manipulation of time and space, with the challenges of multiple strands of narrative and multiple protagonists.

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21

Inderbitzin, Kurt. "Suicide." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/224.

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A woman, who believes she is terminally ill, hires a man to kill her, believing that's the only way for her to escape a drawn-out, painful death while still allowing her husband to collect on life insurance. But soon after hiring the man, she realizes she's not dying, that she's been set-up.

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22

Hong, Ki Myung. "Exegesis and screenplay for a film entitled: White Magnolia." Click here to access this resource online, 2009. http://hdl.handle.net/10292/790.

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Most new migrants choose New Zealand as their second home country because New Zealand provides peaceful, safe and relaxed life style and also quality education compared to their homelands. However, for most migrants, settling down in New Zealand is one of the most dynamic and complex processes in their lives. Many migrants are struggling to adjust to New Zealand because the expression of cultural values is different in New Zealand than in their cultures. As migrants adjust to the new culture, their traditional cultural values are increasingly challenged by New Zealand cultural values leading to some degree of personal change. As a result, most immigrants encounter many unfamiliar cultural values in the initial stage of immigration to a New Zealand culture. This story is about the impact of culture-shock on an ordinary Korean migrant family and their struggle adjusting in a new society.

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23

Snead, Nicholas DeVan. "Fabulistic: Examination and application of narratology and screenplay craft." CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.

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This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.

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24

Zolliecoffer, James. "The Oracle." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/129.

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25

Bachmann, Holger. "Arthur Schnitzler's Der junge Medardus as drama, screenplay and film." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627305.

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26

Gillespie, Dana M. (Dana Marie). "Leni: A Screenplay Based on the Career of Leni Riefenstahl." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500269/.

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This screenplay dramatizes the controversial career of German film maker Leni Riefenstahl during ten years of her association with the Nazi Party. Beginning with the premiere of her first film in 1932, this account chronicles her rise as a film director of such films as Triumph of the Will and Olympia to her arrest after World War II on charges that she had been a Nazi sympathizer. Besides delineating the character and talents of Leni Riefenstahl, this screenplay addresses the difficult question of the relationship between politics and art.

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27

Croasmun, Jean M. (Jean Marie). "Trapped in the Body of a Cheerleader: an Original Screenplay." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500608/.

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Trapped in the Body of a Cheerleader is a feature-length comedic screenplay using juvenile witticisms and black-comedy to tell the story of a teenaged girl accepting her own identity. The introduction, a personal essay, offers the author's personal views towards screen writing, teen-oriented films, and contemporary screen comedy.

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28

Mims, Sarah E. "The first adventure of Raspberry and Lime : a futuristic screenplay /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131559243.pdf.

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29

Neal, Sarah Jane, and sarahneal@myplace net au. "Structuring the Thrill in the True Crime Story: An Analysis of how the substructures of the classic screenplay operate in the Thriller film." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080514.095721.

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The research undertaken as the requirements of the degree is an analysis, evaluation and application of the usefulness of the substructures contained in the classic Thriller screenplay. The research identifies tools and techniques that the screenwriter can apply to the construction of a classically structured Thriller. These tools and techniques have been applied to the creation of an original feature length screenplay entitled Magnetic Fields. The substructures explored in this exegesis are those identified by screen theorist Dr Lisa Dethridge as being essential to the screenplay form, irrespective of genre. They are the premise, protagonist, dramatic problem and plot. The research identifies and defines each of these elements and examines for how they operate in the classic Thriller screenplay. Screen theorist and Thriller genre expert Neill D Hicks provides the theoretical structure for the classic Thriller. A case study, Heavenly Creatures (1994) written by Fran Walsh and Peter Jackson, illustrates the discussion of these substructures. The theories of Dethridge and Hicks are compared and evaluated for their usefulness in the construction of the original screenplay, Magnetic Fields. The story is loosely based on a true crime and the challenge in construction this screenplay was the process of identifying and employing the key conventions and techniques of the Thriller genre. Operating within the conventions of the classic Thriller enables the writer to address the requirements of both industry and audience. The film industry requires that a screenplay adhere to a number of standards relating to its format, length and the organisation of content. The audience, or the reader of the screenplay also has expectations. If a film is labelled a Thriller, the audience expects the story to provoke suspense and fear. They will expect to be thrilled. For the screenwriter to achieve this effect the research aims to prove the benefits of adhering to the structural conventions of the classic Thriller film.

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30

Likomanova, Yvonne. "The Dock." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1406.

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31

Moye, James Allan. "Signs following." ScholarWorks@UNO, 2002. http://louisdl.louislibraries.org/u?/NOD,19.

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Thesis (M.F.A.)--University of New Orleans, 2002.
Title from electronic submission form. Vita. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Drama/Communications"--Thesis t.p.

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32

Ma, XiaoLu. "The Last Foreign Nuns in China Screenplay: An Exegesis to ‘The Last Foreign Nuns in China’ Screenplay: the Significance of Lost History, Docudrama and Co-production." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366574.

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This is an exegesis of the docudrama screenplay of The Last Foreign Nuns in China. It introduces the historical background of this screenplay, emphasises the significance of docudrama and analyses the pros and cons of film co-production. With the exception of the introduction and the conclusion, there are three parts to this exegesis. Part one, Chapter 2 focuses on the literature and history review. It examines the history and literature of the Catholic Church in China and the background of the incidents. It not only highlights the relationship between the Chinese government and foreign missionaries, but also provides a historical context in which to observe the development of attitudes towards foreign missionaries in China. Three historical moments have been included: missionaries and the new technology - the Golden Age of Christianity and the Chinese Rites Controversy; the Church’s development after the Opium Wars and ‘rice bowl’ Christians. These historical moments, as well as the historical figures, have been chosen carefully in order to summarise the positive and negative social impacts on various aspects of Chinese history. The screenplay gives the audience a brief but comprehensive understanding of the performance of the Catholic Church in ancient and contemporary history.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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33

Crittenden, Nicholas. "The generative image : visual screenwriting and the substance of screenplay structure." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368359.

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34

Wilhoite, Kathleen. "Clown Baby| The Play, the Screenplay, and Reflections on the Process." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784116.

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Never once in my thirty-plus years that I’ve been acting professionally, did I ever think I’d find the inspiration to write a full-length play in the middle of an exercise in clown class. Here is how I stumbled upon the world of the clown, whom I’d written it about, and why I was compelled to bring this particular story to life. This project is a reflection of how transformative my graduate school experience has been for me, both as an actress and as a writer.

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35

Franklin, William Neal. "Wild Nights! Wild Nights! The Dickinsons and the Todds: A Screenplay." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500316/.

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Emily Dickinson's seclusion is explored in light of her family's strange entanglement with the Todds. Austin Dickinson's affair with Mabel Loomis Todd, and the effect on the lives of Susan Dickinson, Lavinia Dickinson, Martha Dickinson Bianchi, David Todd, and Millicent Todd Bingham, provide a steamy context for the posthumous publication of Emily Dickinson's poetry. The screenplay includes original music (inspired by the dashes and an old hymn) for two poems: "Wild Nightsl Wild Nights!" and "Better - than Music!" Also included are visualizations of many of Dickinson's images, including "circumference," "Eden," "the bee," and "immortality."

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36

McMillan, Bradley Ian. "Challenging the Safe Centre: An Exegesis to Support the Screenplay Shelf Life." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/368003.

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This exegesis examines the processes used to produce a body of studio work that investigates how screen-based narratives and aesthetics function in relation to, and are able to question, political and cultural hegemony. The final outcome of the studio work – a feature-length screenplay called Shelf Life – has at its thematic core a focus on neoliberal ideology and its cultural manifestations, an exploration of the social exclusion that is a by-product of that phenomenon, and an examination of the emancipatory potential of the cinema. It looks at how a work can engage with, yet also challenge, mainstream modes of storytelling to counter their potentially soporific effects, which may work to obscure deeper counter readings. The screenplay embodies a bricolage of influences in its final incarnation, as different strategies were developed to deal with the interaction between content, form and conflicting ideologies. A process of iterative writing shifted the work from its beginnings as a narrative exploration of theme to focus on the interplay between aesthetics and ideology, and the ways in which aesthetic choices can contribute to a spectator’s active reading of the work. It finally culminated in an extensive process of improvisational writing, which aimed to shift how the work was engaged with, away from an unquestioned a priori reading to a less stable liminal reading to allow for a more mindful viewing experience.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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37

Fiskaa, Sverre, and n/a. "Road Maps - Navigating the Road Movie." RMIT University. Creative Writing, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080627.154735.

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This Master of Arts project in Creative Writing was submitted to the School of Creative Media at Royal Melbourne University of Technology. It contains a full length feature screenplay for an un-produced road movie entitled Free Radicals. It is primarily a dark love story between the drug-addicted rent boy Roman and the budding actor, the protagonist Jonathan. It is however written in a conventional structure familiar to Hollywood professionals, and a good deal of humour is used to attract interest in the story. The storyline itself is more familiar to the audience of road movies and independent features in the US or European Art House ventures. The exegesis explores the history and the conventions of the road movie genre, in addition to the established and not often debated conventions of screenwriting theory. The thesis attempts to show how these theories were applied to the screenplay and how they influenced the process of writing it within an academic and commercial context. The MA project shows how different expectations may create a conflict in the personal writing process and inspire a product that makes compromises. The reason for reading this project may not only be the product itself but also the insight it offers into a screenwriting profession where it is often important to meet expectations.

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Dauer, Cindy E. "Karmic Buyback: A Pilot Program." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2144.

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"Karmic Buyback: A Pilot Program", a screenplay, is the story of Oliver Harker, a water resources engineer in his early thirties, adrift in a world of lost social connections. Aside from this work, which he describes as "just a lot of redundant paperwork," his only connection to the outside world is his exuberant younger brother Van. With no father to speak of, and harboring long term resentment against his mother who ran away to Africa the day after Van's high school graduation, Oliver's defining tragic moment came three years earlier. It was then he discovered Eva, the woman he planned to marry, cheating with an old flame. Isolating himself from his few remaining friends, Oliver has become a short-tempered, unbearable grump. Meanwhile Eva, unbeknownst to Oliver, has recently died. She wakes to find herself in a strange, antiseptic afterlife where she is given the opportunity to repair some of the bad karma she accumulated in her short life, specifically in regard to Oliver. As Van begins to help him reestablish social ties, an accident which lands Oliver in the hospital finally draws their mother back across the Atlantic. Oliver must decide between Eva, in her foolish attempts to win him back as a result of the ultimately misguided Karmic Buyback Pilot Program, and the real people who love him.
M.A.
Department of English
Arts and Humanities
English MA

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Raymond, Mark C. "Going In circles." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1938.

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Patterson, Brian C. "A World Without You." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5439.

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The following thesis is adapted from screenplay format. The document from which it derives serves as a shooting script for a film/video called A World Without You . The shooting script contains explicit scene description, camera set-ups that include angle and lens choices, dialog, and transitions - all the relevant instruction needed for anyone to reproduce the film with explicit similarity to its original. The thesis reflects a series of short videos I completed as research. In their finished state, the series of videos coalesce to a single film/video with a sixty-two-minute running time. That conglomeration emerged as a “shadow” or “inversion” of a twenty-minute, singlechannel video loop called Intermission For Deleted Acts, which served as centerpiece to my thesis exhibition. The script navigates themes of environmental catastrophe, companionship, survival, surveillance, and art practice. The following thesis attempts to keep the screenplay formatting intact to communicate both its functionality and aesthetic quality.

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Bell, Lindsay Dale-Ann. "Priest, from screen to stage, a dramaturgical transposition of Jimmy McGovern's screenplay." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq21125.pdf.

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Ratzer, Jane Alexander. "Development of Mexica, a historical fiction screenplay about the conquest of Mexico." Thesis, University of Colorado at Denver, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1588206.

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The primary objectives of this thesis are to research the Conquest of Mexico and to integrate research to expand upon Mexica, a 125 page historical fiction screenplay that was started in 2008 about the 16th century invasion of Mexico by Hernán Cortés. Through quantifying and writing commentary on the revisions to reflect the integration of new research, the enhanced work is accompanied by a critical introduction essay that simultaneously serves as a literature review to determine how sources contributed to the dramatization. The critical introduction is in Spanish, the research was conducted in Spanish and English, and Mexica is in English, to better reach the target, mainstream American audience. The essay addresses schools of thought and theoretical frameworks on the conquest and how they have been accepted, rejected, dramatized and/or incorporated in the screenplay. By analyzing chronicles, literature, film and television relevant to the conquest, narrating experiences and creative license are demonstrated. The essay exhibits a historiographical review by examining myths, misconceptions and consensus on several themes relevant to this era of initial contact in the New World. The critical introduction of Mexica explains how the enhanced script better integrates the indigenous perspective through analysis of a variety of sources, with a non Euro-centric emphasis, to reflect compelling and multidimensional characters in the historical fiction genre.

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Finnegan, John. "At the crossing : changing perceptions, technologies and screenplay functions in contemporary cinema." Thesis, Bangor University, 2018. https://research.bangor.ac.uk/portal/en/theses/at-the-crossing(a2e09d31-175a-4e45-93c7-25846e3accc6).html.

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The aim of this research is to explore the unseen contributions of screenwriters in a film’s production cycle and to understand how perceptions of the implied reader in screenwriting culture can affect the act of writing for the screen. In the mainstream culture of screenwriting, the practitioner is often depicted as a typist relegated to the earliest stages of a production, and expected to satisfy the “capitalistic models of screen production” (Batty 2016, 60). These views often disregard the multitude of other production models in cinema, and the result of this tendency is that emerging screenwriters are sometimes misinformed about the greater complexities of the craft. This inquiry is achieved using a reciprocal model of practice-led and conventional critical research methodologies, which will illuminate the craft of screenwriting by charting the making of a feature-length academic screenplay, At the Crossing. Supporting development documentation accompanies the screenplay, including a production schedule and budget, which attempts to contextualise the screenplay in an industrial setting. The act of writing a screenplay in an academic environment enables me to establish the ways that the screenwriter is influenced by the production process, as well as by practitioners in the field of film production. As part of my research, four award-winning screenwriters, ranging from different areas of the filmmaking spectrum, were interviewed to learn about their role in the creation and production of four films. These case studies highlight the extent of the screenwriter’s reach across different production models and show that the screenwriter plays a significant role in all aspects of film production, not just its early conception. Furthermore, a historical analysis of the craft of screenwriting reveals how the earliest scenarios link with the different production models of cinema at the time and shows that Kickstarter, as well as other digital crowdfunding platforms, might have a major role on contemporary ‘digital’ modes of screenwriting. The conclusions of my research show that, in an independent and contemporary production, the role of the writer, as well as the function of the screenplay text, is fluid and not tied to traditional definitions. It determines that a greater understanding of the implied reader of screenplays can benefit the writer in their attempts to craft a compelling and production friendly screen idea and that the advent of digital technologies provides the screenwriter with innovative and efficient strategies to communicate that idea. An edited section of chapter three, has been published in the Journal of Screenwriting, 7:3 in 2016 and an edited version of chapter one has been published in New Cinemas, 15:2 in 2018.

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Parker, Anthony Raymond. "Solomon's song a three act screenplay based on the Song of Songs /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Daniel, Jennifer Sim. "The Excursion: A Screenplay Adaptation of Francis Brooke’s The Excursion." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/2254.

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My master’s thesis consists of a screenplay adaptation of the Eighteenth Century novel The Excursion by Francis Brooke, as well as an Introduction that details the writing process of the main text. In order to prepare this manuscript, I began with a study of both Francis Brooke and her novel as part of Dr. Judith Slagle’s Eighteenth Century British Novel course and developed my work to completion through independent research on and application of my findings on the screenwriting genre. The concluding product is a three-act screenplay which maintains the original period setting, speech, and costuming while adding such contemporary elements as 20th century music. Such a combination of time periods enables the stillness of the page to become the action of the screen even as it highlights the universal themes of Brooke’s original text.

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Stånggren, Mikael. "Writing a screenplay : A study in crafting quality stories for movies and television." Thesis, University of Gävle, Department of Mathematics, Natural and Computer Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-215.

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The art and science of crafting superior stories for feature film, television, and computer graphics productions, for both local and international purposes alike, are extremely important. In the artistic sense, this is a glimpse at the key elements in creating successful characters, stories, and environments. In the technical sense, it is a review on how to write a professional screenplay, as well as a comparison between different mediums, methods, and styles of writing. In order to conduct this research and accomplish said goals, material from a variable set of sources, including work by acclaimed authors, as well as professional screenplays and personal experience within the subject was used. The initial hypothesis that was put forth, proved in the end to become the overall result. Although being a field more inclined towards art than science, some of the answer and results came to fall within individual conclusions and opinions, rather than technical facts, as writing is different in style and nature to each and every screenwriter.

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Shepherd, Barrett James. "'Party Season: A Screenplay-Based Inquiry into Filming and Judgment, with Accompanying Essay'." The University of Waikato, 2007. http://hdl.handle.net/10289/2430.

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Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a reversal of conventionality. The intention with the accompanying essay is to sustain a progressive interweaving of reflective commentary and analytical vignettes. There is also an intended symmetry here - an 'excessive' essay (long, without conventional subheadings, breaks, etc.) will sit alongside the 'excessive' screenplay as its twin of sorts, a different style of invention. The essay is to speech what the screenplay is to sex.

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Tolliver, Staci. "Hurting the Ones They Love: Character Analysis and Original Screenplay Crimes of Passion." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/honors_theses/22.

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The thesis is a ten-page analysis on two films, Fatal Attraction and Lakeview Terrace. The thesis begins with a brief introduction to the horror genre and its subgenre in which the two films and original screenplay are categorized, psychological horror. It covers all the important elements of a film and screenplay: conflict, arc, goal, structure and plot. The thesis also consists of feminists’ reactions to Fatal Attraction, and examines whether the original 60- page screenplay helps or worsens the image of women. The screenplay also raises the question if having the villains need to be insane to prove a point. Further in the thesis is a description of the original screenplay Crimes of Passion and its main characters Jennifer, Alex and Keith. Jennifer, the heroine, becomes the target of scorned lover and police officer Keith. Alex, Keith’s rival, must protect Jennifer. The analysis ends with the restated questions the audience must have in mind and answer while reading the screenplay.

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Planitz, Birgit Maria. "Frank and Stein : from research scientist to creative writer (a screenplay and exegesis)." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/40172/1/Birgit_Planitz_Thesis.pdf.

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The screenplay, “Perfect Blood” (Frank and Stein), is the first two-hour episode of a two-part television miniseries Frank and Stein. This creative work is a science fiction story that speculates on the future of Western nations in a world where petroleum is scarce. A major theme that has been explored in the miniseries is the tension between the advantages and dangers of scientific progress without regard to human consequences. “Perfect Blood” (Frank and Stein) was written as part of my personal creative journey, which has been the transformation from research scientist to creative writer. In the exegetical component of this thesis, I propose that a key challenge for any scientist writing science fiction is the shift from conducting empirical research in a laboratory-based situation to engaging in creative practice research. During my personal creative journey, I found that a predominant difficulty in conducting research within a creative practice-led paradigm was unleashing my creativity and personal viewpoint, practices that are frowned upon in scientific research. The aim of the exegesis is to demonstrate that the transformative process from science to art is not neat and well-structured. My personal creative journey was fraught with many ‘wrong’ turns. However, after reflecting on the experience, I realise that every varied piece of research that I undertook allowed me to progress to the next stage, the next draft of Frank and Stein. And via the disorder of the creative process, a screenplay finally emerged that was both structured and creative, which are equally essential elements in screenwriting.

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Blackman, David, and dablack2@bigpond net au. "An exploration of the psychological and political dimensions of violence and aggression within the war film genre." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.121457.

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Parade's End, a screenplay accompanied by an exegesis exploring institutional and ideological violence within the war film genre. The problem to solve with my exegesis and subsequent screenplay was how to create a unique visual form for the treatment of violence. This was done by examining screenwriting techniques that have been used to explore the psychology of violence and aggression within the war film genre. I identified and examined those techniques used to depict vioence within the war film genre, specifically those discussed by film theorist Stephen Prince. Stephen Prince in Savage cinema: Sam Peckinpah and the rise of ultraviolent movies in America examines the cultural and subsequent technical shifts that occurred in the late sixties towards the treatment of violence in contemporary cinema. He focuses on specific techniques that he believes radicalised the depiction of vioence and its aftermath in the cinematic form. In Visions of empire: political image ry in contemporary American film, Prince examines those techniques that he believed explored the political dimensions of violence. A primary consideration of my research then was how to integrate the techniques under discussion in ways that will help create a convincing form the for depiction of violence for a contemporary screen audience. A major outcome of my investigation and exploration of Prince's techniques, was to sustain within my screenplay the audience's gaze at a disturbing mirror, and probe an audience's ambivalent response to contemporary social currents. Through the demystification of the Special Forces soldier, it was my intention to depict vioence and aggression in striking and original ways.

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