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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Okorie, Chijioke. "Lessons in Protecting and Enforcing Copyright in Screenplays in Nigeria." Business Law Review 41, Issue 2 (April 1, 2020): 55–62. http://dx.doi.org/10.54648/bula2020011.
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On 2 May 2019, the Lagos Division of the Federal High Court in Nigeria delivered its judgment in Suit No. FHC/L/ CS/740/2017 Raconteur Productions Limited v. Dioni Visions Entertainment Limited and Others (‘Raconteur’). This was a claim for copyright infringement of a screenplay, and concerned what constituted sufficient proof of an alleged infringer’s access to such screenplay and evidence of substantial similarities under Nigeria’s Copyright Act. The plaintiff did not produce physical or documentary evidence of its screenplay alleged to have been infringed. For this reason, the Court dismissed the plaintiff’s claims and held that there was no basis to consider the questions of whether the plaintiff had copyright in any screenplay; whether the defendant had access to the plaintiff’s screenplay; and whether there were substantial similarities between the plaintiff’s work and that of the defendant. This article explores the practical implications and lessons from this case for copyright law and practice, both for legal practitioners and the film industry, especially in the digital era. It finds that the decision in Raconteur and the circumstances of the case provide pointers for screenwriters seeking to procure remuneration and copyright protection; receive credit or attribution as well as funding for the co-production of cinematograph films, embodying their screenplays as distinct, protected works. It argues for a nuanced adoption of applicable lessons from various jurisdictions such as South Africa, the UK and the US. copyright infringement, screenplay, Nigeria, substantial similarities, film industry, protected works
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Turina, Romana, and Gabrielle Tremblay. "Textual perspectives: Screenwriting styles, modes and languages." Journal of Screenwriting 13, no. 3 (November 1, 2022): 277–82. http://dx.doi.org/10.1386/josc_00100_2.
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While addressing the question of screenplay textuality, this Special Issue takes a close interest in the ‘media thickness’ of the screenplay in its textual form. In doing so, we wish to contribute to the exploration and affirmation of scenaristic processes as both cultural and intermedial practices, as in general, screenwriting and screenplays are indeed to be considered at the crossroads of different artistic, mediatic and social fields. This is a flexible editorial posture and assumed as such, one which above all aims to consider the constitutive plurality of given textual practices, not only in terms of conceptual and social anchoring, but also of styles, modes and languages.
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Deaville, James. "Writing on screens: (Re-)mediating music and sound through captions." Soundtrack, The 15, no. 1 (November 1, 2023): 77–91. http://dx.doi.org/10.1386/ts_00028_1.
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The article focuses on the screenplay’s ‘afterlife’, as a (re-)creative product of captioners and a text for reading by the d/Deaf and Hard of Hearing (DHH) audience. In particular, it explores captioning practices that textualize aspects of the soundtrack crucial to screenplay meanings. Close study of horror series Stranger Things (ST, Netflix) and The Last of Us (TLoU, HBO) reveals how their closed captions represent the end in a unique chain of mediated translations between the script’s written word, the media form’s soundtrack and the captions’ screen text. Comparing ST Season 4, Episode 9 with TLoU Season 1, Episodes 3 and 6 uncovers the different approaches to captioning music and sound effects adopted by captioners. Moreover, juxtaposing the ST Episode 9 music and sound captions with its screenplay by the Duffer Brothers discloses the considerable gap between screenplay and captioned text, which argues for the significant contributions of captioners to media meanings initially created by screenwriters.
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Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (March 4, 2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.
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ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.
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Černík, Jan. "The strange case of the three-column screenplay format in 1950s Czechoslovakia." Journal of Screenwriting 11, no. 1 (March 1, 2020): 7–26. http://dx.doi.org/10.1386/josc_00010_1.
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In the nationalized Czechoslovak film industry, between 1952 and 1956, eight very rare three-column screenplays appeared. The historical evidence of this different screenplay format has been overlooked by historians up to now. Three-column screenplays are not just a dead end of screenwriting practice; they can also be read as evidence of basic tendencies within the Czechoslovak film industry in the 1950s. One effect of nationalization of the film industry was the attempt to standardize the organization of script development. The administrative intervention caused the modification of the script format, but instead of standardization, the effect was a multitude of formats, of which the three-column technical screenplays were a by-product. In this article I read these three-column screenplays within the industry context of the first half of the 1950s in Czechoslovakia and offer an in-depth analysis of particular three-column screenplays.1
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Ryabchikova, Natalie S. "The beginning of “The Beginning”. Excerpts from the discussion of the screenplay by E. Gabrilovich and G. Panfilov." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2023): 150–71. http://dx.doi.org/10.35852/2588-0144-2023-2-150-171.
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The publication is concerned with the discussion of the screenplay (“literary script” in the Russian screenwriting terminology) of the film, which was released in 1970 under the title “The Beginning”. Excerpts from the previously unpublished discussion of the screenplay at the Artistic Council of the Second Creative Association of the Lenfilm Studios on January 14, 1969, in the presence of one of the screenplay’s co-authors and the future director of the film, Gleb Panfilov, shows both the emerging general attitude towards the future film at the studio and the typical objections that fellow filmmakers directed at the theme and the construction of the screenplay. In particular, the very name of the future picture is being analyzed; as well as the division of its plot into “layers” or storylines and, in particular, the “layer” of filmmaking itself (the career of a film actor, the working conditions on set, etc.); the juxtaposition of the heroine and the characters surrounding her, which turns out to be the most important ideological moment of the screenplay for the representatives of Soviet film industry; and, finally, the ending of the film, which has not yet been worked out in the screenplay, but outlines for which, however, are already discernible in the discussion. Such materials relating to the making of key films in the history of Russian cinema help not only to clarify their genesis, but also to visualise the functioning of the Soviet film production system, as well as the formation of its themes and style at a crucial moment of the transition from the cinema of the Thaw to that of Stagnation.
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Garnett, Tony. "The screenplay." Journal of Screenwriting 8, no. 2 (June 1, 2017): 137–45. http://dx.doi.org/10.1386/josc.8.2.137_3.
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Sawtell, Louise, and Stayci Taylor. "Gender and the Screenplay." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 1–3. http://dx.doi.org/10.31165/nk.2017.102.502.
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While plenty has been written about gender representation on screen, much less has been written about gender in regards to screenplays. Emerging scholarly research around screenwriting practice often focuses on questions of the craft – is screenwriting a technical or creative act? – and whether or not the screenplay’s only destiny is to disappear into the film (Carriére, cited in Maras 1999, 147). Thus there might be room for further exploration into screenwriters and their practice – to ask who (in regards to gender) is writing screenplays, especially considering the assertion of Dancyger and Rush that the three-act structure (a dominant screenwriting practice) is ‘designed to suggest the story tells itself’ (2013, 38). Moreover, questions of gender representation on screen might be considered from the perspective of screenwriting practice, given this same ubiquitous structure means that barriers, including those related to gender, ‘are still presented as secondary to the transcendence of individual will’ (Dancyger and Rush 2013, 36). This special issue of Networking Knowledge, then, brings together a collection of scholarly perspectives on screenwriting theory and practice through the lens of gender.
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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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Paletz, Gabriel M. "Writing sound in the screenplay: Traditions and innovations." Soundtrack, The 15, no. 1 (November 1, 2023): 61–75. http://dx.doi.org/10.1386/ts_00027_1.
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Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in past screenplays, sounds can again be written side by side in tandem with yet independently from images. Finally, the article makes original emendations to the classical master scene format for writing dominant sounds that fill a scene as well as indications for movie music. At a time when both film production and the screenplay itself are being transformed, this essay rejuvenates both film scholarship and practice by bridging historical traditions with practical innovations for screenwriting sound.
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Copier, Laura. "Reanimating Saint Paul: From the Literary to the Cinematographic Stage." Biblical Interpretation 27, no. 4-5 (November 13, 2019): 533–48. http://dx.doi.org/10.1163/15685152-02745p05.
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AbstractIn several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, “a work complete and finished in itself.” In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini’s writings on the ontological status of the screenplay as a “structure that wants to be another structure.” The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Despite this, Pasolini argues that the screenplay invites – or perhaps even forces – its reader to imagine, to visualize, the film it describes. Pasolini’s ideas on the function of language as a means to conjure up images are central to this act of visualization. In the second part of this essay, I will attempt an act of visualization. This endeavor to visualize Saint Paul as a possible film is hinged upon a careful reading of the screenplay. I analyze the opening and closing sequences outlined in the screenplay to visualize the possible filmic expression of its protagonist Paul.
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Jones, William E. "Finished: A Screenplay." PAJ: A Journal of Performance and Art 20, no. 2 (May 1998): 82. http://dx.doi.org/10.2307/3245935.
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McGann, Brad. "The original screenplay." Short Film Studies 6, no. 1 (April 1, 2016): 26–35. http://dx.doi.org/10.1386/sfs.6.1.26_7.
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Edmond, Frances. "Screenplay: The Beach." Short Film Studies 7, no. 1 (April 1, 2017): 15–18. http://dx.doi.org/10.1386/sfs.7.1.15_1.
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Zhang, Zhen. "How The Danish Girl was adapted and recontextualized through multimedia." Journal of Adaptation in Film & Performance 16, no. 3 (October 1, 2023): 253–68. http://dx.doi.org/10.1386/jafp_00102_1.
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The Danish Girl has three different versions – novel, screenplay and film. Through comparison, this study explored how Lucinda Coxon (2015) and Tom Hooper (2015) adapted David Ebershoff’s novel (2000), The Danish Girl, to the screenplay and the film of the same name, and how multimodal semiotic resources contributed to recontextualizing the screenplay and the film. This research selected a scene, which represented the ‘remade’ type, from The Danish Girl to instantiate recontextualization in depth. The study found that the adaptations of The Danish Girl mixed different methods. The study also found that the way of recontextualizing the film was more complex than that of the screenplay.
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Al-Ayubi, Arliga Kanza. "Don’t Speak, Maharani: Raising Awareness Towards How Victim Blaming is Worsening Rape Survivor’s PTSD." K@ta Kita 7, no. 3 (December 16, 2019): 329–36. http://dx.doi.org/10.9744/katakita.7.3.329-336.
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The screenplay Don’t Speak, Maharani is the story of Maharani as a rape survivor who suffers from post traumatic stress disorder. Using drama as the genre of the story, the screenplay shows multiple struggles of Maharani who lives her life with unsupportive family which is worsening her psychological state. Since the screenplay focuses on the act of victim blaming which is worsening rape survivor’s Post Traumatic Stress Disorder (PTSD), the story focuses on Maharani reaction towards the action given to her. As the plot advances, it shows how Maharani’s PTSD is worsened by victim blaming given to her. In the end, Maharani tries to heal by taking drugs but she gets overdose. In order to create this screenplay, I use two concepts which are rape and PTSD and rape and victim blaming. The issues regarding victim blaming and PTSD are rarely brought up in a form of a screenplay. However, I believe victim blaming is an act of killing and needs to be stoped. Keyword: Rape, Post Traumatic Stress Disorder, Victim Blaming.
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Podosian, Arsen. "THE SCRIPT AS A STRUCTURAL COMPONENT OF THE DIRECTOR’S CREATIVE WORK IN MODERN CINEMATOGRAPHY." Dialog: media studios, no. 29 (March 15, 2024): 125–36. http://dx.doi.org/10.18524/2308-3255.2023.29.300641.
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This scientific work aims to deeply and comprehensively study the scenarios and the role of the director in the modern cinematographic process with the purpose of revealing the system of their interaction and influence on the creation of cinematic works of art. It is necessary to investigate the screenplay as a structural component of the director’s creative work. In exploring the issues, it is necessary to analyze the importance of history as a fundamental aspect of the film and a key structural element in the creative work of the film director. In this context, carefully consider how the screenplay contributes to the evolution of characters, determines the plotline, and influences the emotional spectrum of viewers. Attention should also be paid to the role of screenplays and the interaction between the screenwriter and the director in the process of creating a film. Research methodology is based on the utilization of the following methods to achieve its objectives. Firstly, the theoretical method is employed for the analysis of scientific publications related to screenplays and genres in cinematography. The method of generalization is used to formulate conclusions based on the analysis of literary sources and processing of acquired information. Additionally, the method of systematization is employed to gather and structure the information used in the research. Overall, the research methodology includes analysis, generalization, and systematization of information, which aids in exploring the issues of screenplays and genres in cinematography from a scientific perspective and formulating well-founded conclusions. This research makes a significant contribution to the understanding of the film creation process and unveils new perspectives for further development in this field. It inspires further research and discussions aimed at optimizing collaboration between screenwriters and directors to achieve even greater innovative and creative potential in cinematography. The article provides a deep analysis of the crucial role that screenplays play in contemporary cinematography. Not only their structure but also the elements directors use in interaction with the storyline during film creation are explored. This in-depth analysis reveals significant aspects that are crucial for working with the storyline in the process of creating an audiovisual project.
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Hendrata, Timothy, and Ribut Basuki. "PROJECT: SCREENPLAY FINDING ANDY." K@ta Kita 5, no. 1 (July 18, 2017): 136–41. http://dx.doi.org/10.9744/katakita.5.1.136-141.
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This paper is about my screenplay entitled Finding Andy which I use as my final project. The screenplay itself is a story about a teenage girl who wants to improve her family’s poor communication. For my theory, I use John Gottman’s “The Four Horsemen of the Apocalypse Model” about family conflict. The theory helps me to shape my characters’ behavior towards each others. Since my characters has better relationship even though the brother dies in the end, I tend to use the worst level of family conflict in the beginning of the story and it gradually changes into successful communication which leads to good relationship. The theory helps me to give example of family’s poor communication to the audiences. I also do an observation on some families with poor communications and Rangkah Rejo neighborhood in Eastern Surabaya to build the setting’s circumstances. From this creative work, I expect that it is made into films, like what screenplay is for, so that the audiences realize that this kind of family exists.
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Septi, Katarina, and Ribut Basuki. "PROJECT: SCREENPLAY GOING HOME." K@ta Kita 5, no. 1 (July 18, 2017): 90–94. http://dx.doi.org/10.9744/katakita.5.1.90-94.
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This paper explained the process and the result of my final project which is a screenplay entitled Going Home. The screenplay is about Dahlia, a thirteen-year-old girl who was born and grew up in Australia. Then, she has to return to Jakarta, Indonesia and continue her education in Indonesia. She has an assignment about history of Indonesia. She needs to write one of heroic history of Indonesia with her own words and write her reflection about it. Once, she goes to Surabaya for a holiday and stays at Majapahit Hotel Surabaya. In the hotel, she experiences the past life about several historical moments by going back and forth to a past life and present life. After experiencing it, she can feel and understand the spirit of the Indonesian revolutionary heroes. She respects Indonesia heroes more. Also, she can encourage her friends to love Indonesia better and to blend in diverse group of ethnics as strong and one Indonesian who support to improve Indonesia. I would like to show that young generations are now lack the spirit to build their country. They forget to become one; One Land, One Nation, One Language. This creative work focuses on how history of Indonesia can help young generations to gain the spirit of Indonesian revolutionary heroes to love and improve Indonesia. To put this issue into a form of entertainment, I decided to make a screenplay which type of genre is adventure fantasy.
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Rodman, Howard A. "What a Screenplay Isn't." Cinema Journal 45, no. 2 (2006): 86–89. http://dx.doi.org/10.1353/cj.2006.0020.
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Tretyakov, Sergei, Mihaela Mihailova, and Masha Salazkina. "The Industry Production Screenplay." Cinema Journal 51, no. 4 (2012): 133–38. http://dx.doi.org/10.1353/cj.2012.0096.
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Sa'edi (, Gholamhosayn, and Mohsen Ghadessy). "The cow: a screenplay." Iranian Studies 18, no. 2-4 (June 1985): 257–323. http://dx.doi.org/10.1080/00210868508701660.
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Mariniello, Silvestra. "St. Paul : The Unmade Movie." Cinémas 9, no. 2-3 (October 26, 2007): 67–84. http://dx.doi.org/10.7202/024787ar.
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ABSTRACT This essay addresses the notion of "screenplay" elaborated by the film director Pier Paolo Pasolini, in his essay "The Screenplay as a 'Structure That Wants to be Another Structure'," with reference to his Project for a Film of St. Paul. Pasolini's St. Paul, which would have transposed the story of the apostle into our own day, by situating it in New York (Rome), Paris (Jerusalem), present day Rome (Athens), and London (Alexandria), never made it to film. The project, however, gives the whole of Pasolini's cinematographic poetic in condensed form; it is a text which inhabits, in a critical and self-conscious way, the space between writing and film which is proper to the screenplay. The aim of this essay is to show the movement, the play of allusions and references, that form the very basis of the cinematographic screenplay.
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Plotnikova, A. G. "Genre Features of Professional Screenplays in Russia in 1910s: Theory and Practice." Nauchnyi dialog 13, no. 3 (April 24, 2024): 233–50. http://dx.doi.org/10.24224/2227-1295-2024-13-3-233-250.
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The article explores the genre dominants of Silver Age screenplays. Theoretical concepts of film dramaturgy are applied to the texts of A. A. Khanzhonkov’s “From the World of Mystery” (1915) and A. S. Voznesensky’s “God” (1918). The scientific novelty of the study lies in the comprehensive analysis of these screenplay texts for the first time. The relevance is justified by contemporary philology’s interest in the intermedial aspect of literature. The screenplays exhibit an orientation towards literary models: a wide range of linguistic devices (metaphors, similes, inversions), complex composition, psychological depth, and more. Cinematic expressiveness is realized through a system of modalities (real time, memories, dreams, imagination, altered consciousness, etc.), description of character movements, and “visual sound.” The study suggests that the genre of screenwriting in silent cinema fundamentally differs from subsequent eras and tends towards the epic rather than the dramatic genre. Discrepancies between directorial and literary scripts occurred early in the genre’s formation. A comprehensive examination of original realized screenplays could be key to understanding the reasons for the unsatisfactory results of writer-filmmaker interactions.
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Gefen, Rina, and Rachel Weissbrod. "Collaborative self-translation in the screenplays of The Godfather trilogy." Journal of Screenwriting 12, no. 1 (March 1, 2021): 39–54. http://dx.doi.org/10.1386/josc_00047_1.
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This study examines the adaptation of the novel The Godfather into screenplays by author Mario Puzo and director Francis Ford Coppola. Combining translation and adaptation studies, we regard this adaptation as a case of ‘collaborative self-translation’, a concept that has so far been rarely applied beyond translations studies, and use a model designed for the study of adaptation to analyse it. However, we expand the model by applying it to screenplays, and examining prequel and sequel, which are mainly present in the second and third screenplays of the trilogy. In addition to calling attention to the screenplay as a vital stage in the transformation of a literary work into a film, this article shows that the adaptation model can be a valuable tool to systematically analyse adapted screenplays, thus expanding the methodological repertoire of both adaptation and screenwriting studies. Moreover, it was found that the combined discussion of adaptation, sequel and prequel may contribute to an understanding of the complex relations between them and the source. Based on these theoretical insights, we show that through merging the creative powers of Puzo and Coppola, the screenplays shed new light on social, family and cultural themes that appear to some extent in the novel, taking the conventions of the crime genre in new and surprising directions.
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Ambarwa, Susi, Radius Setiyawan, and Pramudana Ihsan. "Ecological Feminism Issues Depicted in Moana’s Screenplay by Jared Bush." Tell : Teaching of English Language and Literature Journal 6, no. 2 (November 9, 2018): 97. http://dx.doi.org/10.30651/tell.v6i2.2137.
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The purpose of this research is to reveal whether Moana’s Screenplay by Jared Bush can be considered as an eco-feminism reading or not. To prove this hypothesis, the researcher analyzes Moana’s Screenplay through find out the characteristics of the main character that reflect ecological feminism and reveals the relationship between man, woman, and nature in Moana’s screenplay using eco-feminism perspective. The researcher uses descriptive qualitative methods in analyzing the data. The researcher found that eco-feminism issues were clearly shown in this screenplay. First, the main character in Moana’s Screenplay was not described as a weak woman but she showed the characteristics of leadership, ambitious, and courageous where these characters usually owned by man. She was described as a woman who loved their people and the environment which is a reflection of ecological feminism. Second, the relationship between man and woman was illustrated that male characters dominated woman both verbally and mentally. Third, regarding the relationship between man and nature, it was found that nature was dominated because man saw nature as a resource to meet human needs. Finally, related to the relationship between woman and nature, it was revealed that woman was closer to nature than man so they can live in harmony.
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Bandosz, Benjamin. "Potentialities of Post-Media: Networks of Resistance and Subjugation in Félix Guattari's A Love of UIQ." Deleuze and Guattari Studies 15, no. 1 (February 2021): 117–39. http://dx.doi.org/10.3366/dlgs.2021.0422.
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Félix Guattari's theoretical and practical interests in cinema culminated in the film project A Love of UIQ. While critics have concentrated on the sci-fi screenplay's elements of minor cinema, its themes of mass media, emerging computer technologies and informatic-communication networks particularly express Guattari's concept of post-media. The screenplay is an aesthetic meditation on the potentialities of post-media, a concept that anticipates the practical and theoretical issues surrounding the age of the Internet. A Love of UIQ voices Guattari's ambivalence towards the liberatory possibilities of network technologies that are at constant risk of capitalist recapture.
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Siongkowinarto, Edwin. "Aurora: Stereotyping and How It Shapes a Person’s Perspective of His Own and Other People’s Self-Identity." K@ta Kita 6, no. 2 (November 16, 2018): 129–35. http://dx.doi.org/10.9744/katakita.6.2.129-135.
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My screenplay Aurorafollows a couple of high school students Dave and Aurora as they go out on their first date. With Dave being the high school nerd and Aurora being the popular girl, forming a bond obviously would not be easy. However, the story will peel back the layers of these two teenagers to the point that they realize that they are more than what their stereotypes suggest them to be. Since my work’s main idea revolves around stereotyping and how people use it as a way to identify a person’s character, hopefully it can emphasize to the audience the importance of not judging people based on their appearances without knowing them on a personal level. To be more specific, my screenplay will touch on stereotyping and how it shapes the main character Dave’s perspective of his own and other people’s self-identity. For that, I will use Charles Horton Cooley’s Looking Glass-Self theory to showcase its effect on the characters on both physical and psychological level. Set in a couple’s first date, the genre for my work will be teen romance. I see a lot of similarities in the genre’s convention and opposites-attract storyline with my screenplay’s subject matter of stereotyping.
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Walker, Michael. "Using Screenplays to Integrate Filmwork in the ESL Classroom." JALT PIE SIG: Mask and Gavel 10, no. 1 (February 7, 2022): 112–34. http://dx.doi.org/10.37546/jaltsig.pie10.1-5.
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Although the use of film in both ESL and EFL classrooms is widespread, the screenplay on which most films are based is almost non-existent as a language learning resource. However, its structured framework provides the opportunity to teach skills-based activities that are contextually clear, particularly when accompanied by the movie. The primary challenge in adopting screenplay work into a curriculum, especially for educators not familiar with the format, is in ensuring specific language-based learning objectives are being met, whilst also encouraging creative freedom amongst the students. To that end, this paper begins with an introduction of what a screenplay is before examining how utilizing a script can transform the traditionally passive activity of watching a movie, into a series of justifiable language tasks. The familiarity with the language used from these comprehension activities then becomes the foundation for an assessable filmmaking task where students write their own screenplay and subsequently shoot it. The final part of this paper provides instructions on how to implement the movie-making segment and marking criteria for grading.
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Baker, Dallas John. "Spinning and singing: Exploring memory and gender non-conformity through screenwriting for publication first." Journal of Screenwriting 13, no. 3 (November 1, 2022): 329–46. http://dx.doi.org/10.1386/josc_00104_1.
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This article discusses a short screenplay written for publication first, rather than production, and how this approach enabled the writer to explore fringe or non-commercial topics, specifically male gender non-conformity and queer identity formation. Shifting the focus of screenwriting from the sole goal of production to a twin goal of publication first and then production opened up a number of creative and scholarly avenues for the writer and means that the script will find an audience (a readership) irrespective of production. It also means that the textual qualities of the script are foregrounded. The script and this article explore the notion of effeminacy as a non-normative gender of considerable discursive potency that simultaneously disrupts both masculinity and femininity. The screenplay and this article also explore the relationship between memory and identity, arguing that interventions into memory contribute to the shaping of queer identity. The screenplay foregrounds dialogue as a textual strategy to enhance the readability of the screenplay and position it firmly as a textual or literary artefact.
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Zykova, I. V. "LINGUOCREATIVE MODELING OF DISCOURSES OF DIFFERENT MODALITY IN CONTRAST: SCREENPLAY VS. FILM." Voprosy Kognitivnoy Lingvistiki, no. 3 (2023): 16–30. http://dx.doi.org/10.20916/1812-3228-2023-3-16-30.
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The article contains the results of a comparative study of linguistic creativity, carried out on the material of a screenplay and a film, representing discourses with different types of modality. The author has developed the criteria for selecting research material and an algorithm for its analysis by means of the method of parameterization of linguistic creativity. The research has established the elements of the text of the screenplay and the verbal system of the film, which are relevant and irrelevant for the study of linguistic creativity in these types of works. The data obtained reveal a variability in the use of linguocreative means in the screenplay and film, which is an important indicator of the text transformations produced. It is shown that the specificity of the linguocreative modeling of the screenplay and the film is determined by the difference in the activity of the lexical parameters of linguistic creativity that quantitatively prevail in both studied works. The method elaborated and the results obtained help to step further towards the goal of understanding the phenomena of linguistic and multimodal creativity.
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Nikoriak, Natalia, and Aliona Matiychak. "INTERMEDIALITY AS A GENRE DOMINANT OF THE SCREENPLAY." InterConf, no. 13(109) (May 20, 2022): 184–90. http://dx.doi.org/10.51582/interconf.19-20.05.2022.024.
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The article analyzes the screenplay "Check Your Watches" by Lina Kostenko and Arkadiy Dobrovolskiy in the context of intermedial studies. This text appears as an original intermedial genre construct, presenting a synthesis of two types of art (literature and cinema), but it also actively appeals to other arts: painting, sculpture, theater, music and, intertextually, to literature. Artistic codes permeate different levels of the text: the title complex, personosphere, composition, presenting the versatility, uniqueness and aesthetic level of the scriptwriters. The "decoding" of the screenplay artistic codes takes a leading position in the appropriate conceiving of the authors’ intentions and overall understanding of the screenplay ideological subtext, that testifies to its multi-layered, extremely powerful receptive potential.
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Sohail, Ahmer, and Prof Dr Farish Ullah. "The Art and Craft of Screenwriting: Practice and Prospects of Screenwriting in Pakistani Film." Journal of Peace, Development & Communication me 05, issue 2 (June 30, 2021): 230–40. http://dx.doi.org/10.36968/jpdc-v05-i02-21.
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Pakistani feature films are on decline for last three decades. In filmmaking, screenplay plays the pivotal part, without which the idea of making film is absurd indeed. The academic learning of art and craft of screenwriting has actually been taken for granted in Pakistan. This overlooking serves one of the reasons owing to which Pakistani Cinema could not get along with its contemporaries. This qualitative study throws light on the significance of screenplay in the whole process of filmmaking and nudges to the pedagogical needs of screenplay writing to be met in Pakistan. For the purpose, in-depth interviews of academician and practitioners of film and communication studies in Lahore have been conducted by the researcher.
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Margalit, Gilad. "On Ethnic Essence and the Notion of German Victimization: Martin Walser and Asta Scheib’s Armer Nanosh and the Jew within the Gypsy." German Politics and Society 20, no. 3 (September 1, 2002): 15–40. http://dx.doi.org/10.3167/104503002782486208.
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This article discusses a screenplay of the television thriller ArmerNanosh (Poor Nanosh), written in 19891 by the famous Germanauthor Martin Walser and Asta Scheib.2 The screenplay deals withthe relations between Germans and Germany’s Sinti, or Gypsy, populationin the shadow of Auschwitz,3 a subject that has hardly beentouched upon by postwar German authors and dramatists.
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Mirowska, Paulina. "Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s "The Comfort of Strangers"." Text Matters, no. 3 (November 1, 2013): 171–85. http://dx.doi.org/10.2478/texmat-2013-0033.
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A careful analysis of Harold Pinter’s screenplays, notably those written in the 1980s and early 1990s, renders an illustration of how the artist’s cinematic projects supplemented, and often heightened, the focus of his dramatic output, his resolute exploration of the workings of power, love and destruction at various levels of social interaction and bold revision of received values. It seems, however, that few of the scripts did so in such a subtle yet effective manner as Pinter’s intriguing fusion of the erotic, violence and ethical concerns in the film The Comfort of Strangers (1990), directed by Paul Schrader and based on Ian McEwan’s 1981 novel of the same name. The article centres upon Pinter’s creative adaptation of McEwan’s deeply allusive and disquieting text probing, amongst others, the intricacies and tensions of gender relations and sexual intimacy. It examines the screenplay—regarded by many critics as not merely an adaptation of the novel but another, very powerful work of art—addressing Pinter’s method as an adapter and highlighting the artist’s imaginative attempts at fostering a better appreciation of the connections between authoritarian impulses, love and justice. Similarly to a number of other Pinter filmscripts and plays of the 1980s and 1990s, the erotic and the lethal alarmingly intersect in this screenplay where the ostensibly innocent—an unmarried English couple on a holiday in Venice, who are manipulated, victimized and, ultimately, destroyed—are subtly depicted as partly complicit in their own fates.
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Banville, John, Thaddeus O'Sullivan, and Andrew Patmann. "Birchwood: Extracts from the Screenplay." Irish Review (1986-), no. 1 (1986): 65. http://dx.doi.org/10.2307/29735251.
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Jensen, Viggo Holm. "Sid Field: Screenplay / Screenwriters Workbook." MedieKultur: Journal of media and communication research 4, no. 8 (February 26, 1988): 2. http://dx.doi.org/10.7146/mediekultur.v4i8.784.
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Davies, Rosamund. "The screenplay as boundary object." Journal of Screenwriting 10, no. 2 (June 1, 2019): 149–64. http://dx.doi.org/10.1386/josc.10.2.149_1.
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Briukhovetska, Larysa. "Lina Kostenko jako scenarzystka „Sprawdźcie swoje zegarki — kto powróci, pokocha do końca”. Scenariusz i film." Miscellanea Posttotalitariana Wratislaviensia 9 (May 9, 2022): 219–34. http://dx.doi.org/10.19195/2353-8546.9.16.
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Why did Arkady Dobrovolsky and Lina Kostenko, the talented authors of the critically-acclaimed screenplay Check Your Watches, take their names out from the credits of Leonid Osyka’s film Who Return, Will Love to the End based on their screenplay? Using archival materials analysis, this article shows collisions that revolved around Kostenko’s notorious work between 1964–1966 at the Dovzhenko Film Studios in Kyiv.
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Udianti, Ni Kadek, I. Gusti Agung Istri Aryani, and I. Komang Sumaryana Putra. "Idiomatic Expression in Movie Screenplay Entitled Beauty and The Beast." Udayana Journal of Social Sciences and Humanities (UJoSSH) 4, no. 1 (February 29, 2020): 19. http://dx.doi.org/10.24843/ujossh.2020.v04.i01.p04.
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This study entitled Idiomatic Expression in Movie Screenplay Entitled “Beauty and The Beast”. This study is aimed at classifying the types of phrasal verb idioms and analyzing the meaning of each phrasal verb idiom encountered in Beauty and The Beast screenplay. The data were taken from the movie screenplay written by Stephen Chbosky and Spiliotopoulus entitled Beauty and The Beast. The data were collected using the documentation method by applying the note-taking technique. In the analysis, this study used the qualitative method, and narrative method used to present the data analysis. In analyzing types of idioms, the writer divided phrasal verb idiom enchanted into six types and explained each pattern. In analyzing the meaning of each phrasal verb idiom, the writer described the literal meaning of an individual word and then explained the idiomatic meaning appropriate with the dialogue. The result of the analysis showed that the dominant pattern used among phrasal verb idioms enchanted in Beauty and The Beast is the combination between intransitive + adverb and the least of all patterns is the combination of transitive + adverb + preposition. Furthermore, the most type of meaning found is transparent, where mostly, the meaning of phrasal verb idioms in the screenplay, and the meaning of their literal word are similar.