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Relevant bibliographies by topics / Screenplays

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Academic literature on the topic 'Screenplays'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Screenplays"

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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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Screenplays"

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Abruzzi, Geoffrey. "Three screenplays." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Passmore, Simon. "Screenplays : writing, discourse, and process." Thesis, Lancaster University, 2018. http://eprints.lancs.ac.uk/90094/.

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This thesis argues that screenplays have, throughout their history, been overlooked, undervalued, and misrepresented in ways that obscure them as works of creative writing. Restoring writing and creativity to the definition and analysis of screenplays, against metaphors that reduce them to industrial or technical documents, the thesis also contends with discourses that nominate screenwriting a lesser kind of writing than literary writing, writing that is not meant to be read; a formulaic mode of writing without agency, voice, complexity, or distinctiveness; a fixed and limited writing that is unnecessary or antithetical to film art. Against these arguments, the thesis demonstrates that screenplays are writing that is read and meant to be read; that screenplays are capable of complexity similar to the best literary writing; that they call into being, persist in, and endure beyond the finished film; that screenplay writing is a generative process; and that many screenplays go far beyond the limitations of the prevalent industrial model. The thesis sets the frequently disconnected historical, critical, theoretical, pedagogical, and practical discourses that address screenplays in dialogue. My arguments are informed by situating the practice of writing and reading screenplays (my own and others’) at the centre of my research. I conclude that, despite the pessimism of some scholars, screenplays are neither obsolete nor redundant, since their continuing ability to generate and shape story and meaning remains unchanged by new media, technologies, and practices.

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McEwan, Andrew. "Poetic play communities : bpNichol’s Fraggle Rock screenplays." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50180.

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This thesis analyzes the screenplays written by Canadian experimental poet bpNichol for the Jim Henson produced children’s television program Fraggle Rock between 1982 and 1986. Nichol’s Fraggle Rock writing represents a moment in his multi-genre oeuvre at which to observe his poetics and creative philosophies on display in a popular cultural setting. The ludic poetics exhibited in both the form and narratives of the screenplays display the ways in which playful engagement with language may create interactive communities of play. Through shared attitudes towards language, language games, nonsense, and absurdity, play and play communities emerge as a preoccupation of Nichol’s work within the Fraggle Rock narrative constraints, and links them with his poetry and poetics. To explore Nichol’s specific figuring of play, this thesis surveys theories of play from diverse theoretical backgrounds to develop a ludic model based in player-to-player relationships and communication. It also analyzes canonical treatments of play to mark off the concerns of the current study, and address the ambiguities of the term. Nichol’s Fraggle Rock screenplays employ song, language, and poetry as forms of community experience and engagement that foster play relationships, and allow individuals to collectively manipulate the forms of their communication. These language games and language play constitute the Fraggle world of Nichol’s episodes and highlight the play community as a paracosm based in shared manipulation of communicative conventions. Further, this thesis analyzes the ”pataphysical elements of the Fraggle Rock play community in Nichol’s episodes, and how these provide a playfully creative and critical angle with which to view the normative “human” world.
Arts, Faculty of
English, Department of
Graduate

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NUNES, RAQUEL PEREIRA ALBERTO. "BARRAVENTO(S): A COMPARATIVE ANALYSIS OF SCREENPLAYS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17896@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Busca-se analisar, comparativamente, dois olhares sobre o filme Barravento (1962): o primeiro de Luiz Paulino dos Santos, captado através de seu roteiro, e o segundo de Glauber Rocha, apreendido a partir de seu roteiro e filme. Ambas as perspectivas dialogam com concepções e tensões presentes no ambiente cultural brasileiro, particularmente na Bahia, em fins da década de 1950 e início dos anos 1960. Pretende-se, através dessa análise, uma reflexão sobre os diversificados olhares acerca da cultura popular, das religiões afro-brasileiras, do papel do intelectual na sociedade e dos conceitos de povo e de alienação durante a época.
It s one intention to analyse the comparison between two different authors views of the film entiltled Barravento (1962), whose names respectively are Luiz Paulino dos Santos and Glauber Rocha. The first one view was captured only through his original screenplay, whereas, in the case of the second, one chose his views on both screenplay and film. Their both perspectives were based on the Brazilian socio-cultural concepts of those times, mainly in Bahia around late 1950 s and early 1960 s. During the analysis, it s one intent to reflect upon the diverse views of pop culture, the concept of people, Afro-Brazilian religions, alienation and also the rolls which intellectuals played in those society were adressed.

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

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CHUTZPAH is a romantic movie set in Manhattan. The events surrounding the death of a wealthy eccentric cumulate into a farcical search for the old man's fortune when it is stolen shortly after his funeral. Ellen, the protagonist, hires a detective to find out who stole her grandfather's money (a substantial sum of which was willed to her). As Mark, the detective, works on the case, a relationship between him and Ellen develops, and the search for the money becomes secondary. Ellen's charm and her relationship with her zany Yiddish relatives endear her to Mark while they together find chutzpah in disaster.

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Hooper, Darrell, and n/a. "Bert the bold." University of Canberra. Creative Communication & Cultural Studies, 2000. http://erl.canberra.edu.au./public/adt-AUC20060726.151754.

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Price, Steven Trefor. "The plays and screenplays of David Mamet : a critical interpretation." Thesis, King's College London (University of London), 1991. https://kclpure.kcl.ac.uk/portal/en/theses/the-plays-and-screenplays-of-david-mamet--a-critical-interpretation(e2de0649-7244-436f-99b2-719f3c784f6a).html.

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Renton, Linda Denise. "From reel to real : Harold Pinter's screenplays and the object of desire." Thesis, Bath Spa University, 1999. http://researchspace.bathspa.ac.uk/1441/.

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Taking as a starting point Pinter's statement that The more acute the experience, the less articulate its expression', this thesis offers a theorisation of that essential point beyond representation, through Lacan's objet petit a, the focal point of the subject's desire. It is this small object, unarticulated in language, unrepresented in the visual field, that is most acute for the subject, and more real than external reality. It is a structure applicable to poetry, psychoanalysis and film, and it is through Pinter's screenplays that this approach is made. Using previously unpublished material from the Pinter Archive, the progress of each screenplay is charted to find Pinter working towards just such a structure of desire for the central character within the narrative, and for the spectator. Chapter one outlines the basic premise of Lacanian theory and its relevance to the most recent writing on film. A direct link is established between Pinter and the Surrealists through Pinter's unpublished poem 'August Becomes', placing vision at the centre of being, and connecting Pinter, through the Surrealists, to Lacan. The construction of an object of desire is outlined in general terms within the screenplays, and the chapter concludes by identifying three different aspects of the object. The first two aspects are those of lack, which evokes desire: the object which is eternally lost, and can only be retrieved in fantasy or dream, and the object which, aligned to a real object in the external world, will change once that real object is achieved. The third aspect emerges when instead of a lack we encounter a fullness, which destroys the relationship with desire, and causes anxiety. Chapter two is a resume of all the screenplays to date in the light of this reading, while chapters, three four and five, offer a close reading of three screenplays: The Remains of the Day, The Handmaid's Tale and Victory, each of which offers a different aspect of the object as outlined above. In chapter six this approach is offered as a reading of Pinter's stage plays. Finally, a postscript outlines Pinter's latest screenplay, The Dreaming Child, which reinforces the subject of this thesis, that it is the object of desire which is more real, more acute than external reality. Throughout the screenplays Pinter can be seen to shape narrative and structure to create just such an acute, invisible object for his spectator, placing her in a vacillating relationship with desire.

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Steyn, Ronan. "Hench." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25533.

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Hench, by being set in the espionage genre, and following the henchman of an evil villain, offers a commentary on the modern working world by serving as a metaphor for the corporate workplace. The film follows a lowly henchman, Hank, who learns to challenge this corporate structure by achieving self-respect, thanks to an unlikely friendship with a James-Bond-esque agent. This creative explication explains how Hench achieves commentary on how large corporate structures operate to maintain control over employees, and the effects this has on individuals. It further highlights the tools and techniques used to formulate Hench into a fully realised feature screenplay.

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Ghosh, Suman. "The screenplays of Satyajit Ray : an analysis of their form, content and structure." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536048.

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Books on the topic "Screenplays"

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Sam, Thomas, ed. Best American screenplays.: Complete screenplays. New York: Crown Publishers, 1986.

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

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

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

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

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Sam, Thomas, ed. Best American screenplays 2: Complete screenplays. New York: Crown Publishers, 1990.

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Tarkovskiĭ, Andreĭ Arsenʹevich. Collected screenplays. London: Faber, 1999.

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Field, Syd. Four Screenplays. New York: Random House Publishing Group, 2009.

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Pinter, Harold. Collected screenplays. London: Faber, 2000.

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1906-1976, Visconti Luchino, ed. Two screenplays. New York: Garland Pub., 1985.

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Book chapters on the topic "Screenplays"

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Cattrysse, Patrick, and Yves Gambier. "Screenwriting and translating screenplays." In The Didactics of Audiovisual Translation, 39–55. Amsterdam: John Benjamins Publishing Company, 2008. http://dx.doi.org/10.1075/btl.77.06cat.

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Desuter, Gauthier. "Video-Endoscopy by Screenplays." In Oropharyngeal Dysphagia, 9–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-92615-5_2.

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Hooks, Ed. "Storyboards vs. complete screenplays." In Acting for Animators, 51. 5th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003289753-16.

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Hanser, Eva, Paul Mc Kevitt, Tom Lunney, and Joan Condell. "SceneMaker: Automatic Visualisation of Screenplays." In KI 2009: Advances in Artificial Intelligence, 265–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04617-9_34.

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Buckland, Warren. "Screenplays: Words on the Page." In Who Wrote Citizen Kane?, 29–41. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-40224-1_3.

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Nannicelli, Ted. "Screenplays." In The Routledge Companion to Philosophy of Literature, 127–36. Routledge, 2015. http://dx.doi.org/10.4324/9781315708935-11.

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"Screenplays." In Yellow Crocodiles and Blue Oranges, 243–51. McGill-Queen's University Press, 2005. http://dx.doi.org/10.1515/9780773572720-015.

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Naremore, James. "Two Screenplays." In Charles Burnett. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520285521.003.0013.

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Burnett is a complete filmmaker who has not only directed but also photographed, edited, and written many films. This chapter puts emphasis on his talent as a screenwriter, using two very different projects as examples. Bless Their Little Hearts was written for director Billy Woodbury and is similar in many ways to Burnett’s Killer of Sheep. It tells the story of an unemployed black man in Watts who suffers a crisis of masculinity while he tries to find a job and keep his family together. Man in a Basket is an adaptation of Crazy Kill by noir novelist Chester Himes. Set in 1950s Harlem, Burnett describes it as Himes’s only love story. Burnett has long wanted to direct this film and is still trying to find backers.

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Moss-Wellington, Wyatt. "Spike Jonze’s Screenwriting: The Screenplay." In ReFocus: The Films of Spike Jonze, 105–36. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0007.

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This original screenplay presents a fictional dialogue with Spike Jonze, drawing much of its content from interviews, speeches made by Jonze, and other writings concerning the nature of screenwriting. The dialogue traverses a consideration of the writing process and themes of Jonze’s two original screenplays: Her and Where the Wild Things Are.

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JOHNSON, C. "Connecting to Screenplays." In Crafting Short Screenplays That Connect, 39–58. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81214-4.00005-9.

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Conference papers on the topic "Screenplays"

1

Zhang, Yeyao, Eleftheria Tsipidi, Sasha Schriber, Mubbasir Kapadia, Markus Gross, and Ashutosh Modi. "Generating Animations from Screenplays." In Proceedings of the Eighth Joint Conference on Lexical and Computational Semantics (*SEM 2019). Stroudsburg, PA, USA: Association for Computational Linguistics, 2019. http://dx.doi.org/10.18653/v1/s19-1032.

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2

McKie, Stewart. "Scriptclud.com: Content Clouds for Screenplays." In Second International Workshop on Semantic Media Adaptation and Personalization (SMAP 2007). IEEE, 2007. http://dx.doi.org/10.1109/smap.2007.4414413.

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3

McKie, Stewart. "Scriptclud.com: Content Clouds for Screenplays." In Second International Workshop on Semantic Media Adaptation and Personalization (SMAP 2007). IEEE, 2007. http://dx.doi.org/10.1109/smap.2007.51.

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4

Baruah, Sabyasachee, and Shrikanth Narayanan. "Character Coreference Resolution in Movie Screenplays." In Findings of the Association for Computational Linguistics: ACL 2023. Stroudsburg, PA, USA: Association for Computational Linguistics, 2023. http://dx.doi.org/10.18653/v1/2023.findings-acl.654.

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5

Bhat, Gayatri, Avneesh Saluja, Melody Dye, and Jan Florjanczyk. "Hierarchical Encoders for Modeling and Interpreting Screenplays." In Proceedings of the Third Workshop on Narrative Understanding. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.nuse-1.1.

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6

Choujaa, Driss, and Naranker Dulay. "Using screenplays as a source of context data." In Proceeding of the 2nd ACM international workshop. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1462014.1462018.

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7

Baruah, Sabyasachee, Sandeep Nallan Chakravarthula, and Shrikanth Narayanan. "Annotation and Evaluation of Coreference Resolution in Screenplays." In Findings of the Association for Computational Linguistics: ACL-IJCNLP 2021. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.findings-acl.176.

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8

Agarwal, Apoorv, Sriramkumar Balasubramanian, Jiehan Zheng, and Sarthak Dash. "Parsing Screenplays for Extracting Social Networks from Movies." In Proceedings of the 3rd Workshop on Computational Linguistics for Literature (CLFL). Stroudsburg, PA, USA: Association for Computational Linguistics, 2014. http://dx.doi.org/10.3115/v1/w14-0907.

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9

Comising, Faith, Hanna E. Wosenu, Jason H. Kang, and Irene Shijo. "Using Machine Learning to Identify Gender Bias in Screenplays." In 2022 IEEE Integrated STEM Education Conference (ISEC). IEEE, 2022. http://dx.doi.org/10.1109/isec54952.2022.10025240.

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10

Mirowski, Piotr, Kory W. Mathewson, Jaylen Pittman, and Richard Evans. "Co-Writing Screenplays and Theatre Scripts with Language Models: Evaluation by Industry Professionals." In CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544548.3581225.

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