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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 TECNOLÓGICOBusca-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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Wier, John W. (John William). "An Animated Screenplay Adaptation Based on John R. Erickson's Novel: The Adventures of Hank the Cowdog." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278417/.
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Screenplay for animated feature film. Story and characters are based on a short novel, The Adventures of Hank the Cowdog. first in a series. This adaptation aims to translate the humor and unique dog-centered perspective of the original source into the medium of film. Hank the Cowdog, head of security on an isolated ranch, works undercover inside a pack of coyotes to solve a series of chicken murders. To solve the case, Hank defends his ranch, sheep and chickens from a devious and powerful coyote leader, Scraunch. With help from a variety of friends and a change in attitude, Hank saves the ranch. Screenplay places detective film conventions in an action-adventure cartoon format. Thesis includes notes on adaptation process.
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Hatton, William 1972. "Disturbing the Peace." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279223/.
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Disturbing the Peace is a short, 16mm sync-sound fiction film. Alone one stormy night, a woman must contend with an intruder breaking into her home. The intruder turns out to be a teenage boy. He claims to have broken in only to retrieve a family heirloom he hid there when he and his parents lived in the same house years ago. When the boy finds the heirloom, the woman begins to believe his story, and soon realizes he doesn't have a good home life. The boy asks permission to stay until the storm breaks. She agrees. Should the boy be trusted, or is he telling one lie after another? The police arrive to witness the outcome of the story.
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McDonald, Caitlin Elizabeth. "Exile, authorship, and 'the good German' : a reconsideration of the screenplays and novels of Emeric Pressburger." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/91a2c05b-c5ac-40b7-baae-9a2a5836ea51.
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Despite being an equal in the most significant partnership in British cinema, Emeric Pressburger has largely been overshadowed by his long term collaborator Michael Powell in both critical and academic studies. While there have been countless books on Powell and Pressburger as a team, those who have sought to separate the partnership have, until now, focussed almost exclusively on Powell. This thesis will attempt to redress the balance within Powell and Pressburger scholarship and attempt to break away from director-centric film studies. It will aim to examine Pressburger’s morally ambiguous characters, such as the recurring “good German” and his propensity to humanise characters who would normally be termed evil or corrupt, in conjunction with the central themes of displacement and exile within Pressburger’s screenplays and novels. The thesis will also utilise both unpublished and unfilmed material and demonstrate that the study of these works that exist only in archives provide a greater insight into the working practises of authors and filmmakers, while providing a valuable point of comparison to their more widely known works. Specifically, this thesis will address four separate aspects of Pressburger’s canon. First, it will discuss Pressburger’s war films which he made with Powell, which have suffered to an extent from neglect by many Archers’ scholars. It is clear that Pressburger’s key hallmarks and mirroring of his own experiences during the war can be seen to develop within these works and provide an ideal point of comparison with that of his later projects such as his novels. Chapter two will then examine the often overlooked filmed operetta, Oh ... Rosalinda!! (1955) along with Pressburger’s unfilmed screenplay The Golden Years (1951) a biopic of Richard Strauss, and provide a comparison to demonstrate the manner in which Pressburger’s love of opera overlapped with his development of complex characters and response to the war. Chapter three will analyse Pressburger two published novels, both of which have been largely ignored by both cinema and literary critics. Through the study of these novels, the difference in approach after the transition from screenwriter to novelist will be examined, along with the further development of his seeming neutrality in the portrayal of morally unsound characters. Chapter four will then focus on Pressburger’s two unpublished novels, The Unholy Passion and A Face like England, with consideration of Pressburger’s developing ideas of morality and forgiveness in his later years. In conclusion, by closely examining works that have been overlooked by Powell and Pressburger scholars, the thesis will shed new light on Pressburger, both as a filmmaker and an author and demonstrate the complexities of both his characters and his writing.
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Gillespie, Dana M. (Dana Marie). "Leni: A Screenplay Based on the Career of Leni Riefenstahl." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500269/.
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This screenplay dramatizes the controversial career of German film maker Leni Riefenstahl during ten years of her association with the Nazi Party. Beginning with the premiere of her first film in 1932, this account chronicles her rise as a film director of such films as Triumph of the Will and Olympia to her arrest after World War II on charges that she had been a Nazi sympathizer. Besides delineating the character and talents of Leni Riefenstahl, this screenplay addresses the difficult question of the relationship between politics and art.
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Chiasson, Basil Alexander Eugene. "Harold Pinter and the performance of power : considerations of affect in select plays, screenplays and films, poetry and political speeches." Thesis, University of Leeds, 2010. http://etheses.whiterose.ac.uk/4620/.
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This thesis looks at selections of Harold Pinter's work across multiple media: written dramatic texts, screenplays and poetry, activity in theatrical and film production and his political activism. It has been argued that Pinter's dramatic medium is exceeded by movements, intensities and forces that operate on and circulate within the corporeal bodies of Pinter's 'audiences'. However, approaches to Pinter to date remain overly focused on representation and hermeneutics and tied to a decidedly idealist conception of being, perception and knowledge. I argue that in order to appreciate the politics of Pinter's aesthetics, readings of Pinter's work need to move in a more decidedly materialist direction. To do so, I enlist the conceptual tools of Gilles Deleuze and felix Guattari, specifically 'affect'. In bringing affect theory to Pinter I illustrate how 'the direct, mutual involvement of language and extra-linguistic forces,1 must be taken into account at every critical step, and that meaning need be construed as a material process, the expression of forces acting upon each other. The diversity of Pinter's work is explored over six chapters with a view to its aesthetic disposition and function, how it enters into noteworthy relations with those who engage with it, and how it establishes conditions that are propitious for transitory but ultimately productive trans formative encounters. Proceeding as such necessitates appraisal of ethical and political positions in relation to Pinter's expression without distinguishing politics from aesthetics - a trend common to intellectual enterprise. Rather, the three keywords in the title of this thesis - performance, power and affect - function as concepts to advance the argument for Pinter's aesthetics as a politics. In considering the aesthetics of Pinter's work in varied media, this thesis invites the reader to see the strategies by which Pinter intervenes in each area as interrelated and political.
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Dória, Lílian Maria Fleury. "A criação da voz autoral no processo de transcriação da literatura para o cinema : O homem da cela 1846, roteiro cinematográfico livremente inspirado nas novelas A senhoria e memórias do subsolo de Fiódor Dostoiévski." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284569.
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Orientador: Antonio Fernando da Conceição PassosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese é o resultado de um processo de pesquisa e criação de um roteiro cinematográfico autoral a partir do diálogo com a literatura de Fiódor Mikháilovitch Dostoiévski (1821-1881) e na perspectiva da proposta de transcrição da literatura para o cinema. Reflexões estéticas e teóricas sobre o roteiro, as especificidades da dramaturgia audiovisual e a abordagem da literatura pelo roteirista no processo de transcrição são alguns dos temas pesquisados. O roteiro O Homem da Cela 1846 é livremente inspirado nas novelas A Senhoria (1846) e Memórias do Subsolo (1864) e transpõe os personagens dostoievskianos para o século XXI, numa grande metrópole. A narrativa ficcional foi construída numa estrutura de contrapontos, em que cenas realistas se misturam com sonhos, delírios e fragmentos caóticos de lembranças. O roteiro se estrutura num arco do tempo no qual vemos, simultaneamente, o escritor preso e o jovem sonhador em suas lembranças de juventude
Abstract: This thesis is the result of a research and creation process of a copyrighted screenplay from the dialogue with the works of Feodor Mikhailovich Dostoevsky (1821 - 1881) and within the proposed transcreation from literature to film. Aesthetic and theoretical reflections on the screenplay, the specificities of the drama and the visual approach of the literature by the screenwriter in the process of transcreation are some of the researched topics. The script The Man of 1846 Cell is freely inspired by the novels The Landlady (1846) and Notes from Underground Man (1864) and transposes the Dostoevskian characters for the twenty-first century, in a great metropolis. The fictional narrative was built on a counterpoint structure, where realistic scenes are mixed with dreams, delusions and chaotic fragments of memories. The screenplay is structured in an arc of time where we see both the stuck writer and the young dreamer in their memories of youth
Doutorado
Multimeios
Doutor em Multimeios
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Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.
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Ndounou, Monica. "The color of Hollywood: The cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180535612.
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Watson, Todd Lincoln. "Turnabout : A Screenplay." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278696/.
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Turnabout, a feature-length screenplay with an accompanying critical essay, is the story of Michael Houston, a successful stockbroker in his late twenties whose unlikely romantic rendezvous with a bohemian art dealer leads him to realize that finding love often begins with a soul-searching journey into oneself.
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Glenn, Elsa Marguerite Henriette. "Screenplay: Schedule 7." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20057.
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This creative project and essay for a Masters degree in Media Theory and Practice is focused around the design of a South African TV series called 'Schedule 7' which is set in Cape Town's south peninsula in a (fictional) non-governmental, psychiatric clinic. The premise is that a troubled handful of patients' perspectives on life change after they encounter what they believe to be God's salvation when they accidentally almost burn themselves to death. The format follows their endeavours to follow and serve God, who they term 'GOGO' (God of Goodness Only), with mixed results. The format is an hour slot comedy-drama series designed for television broadcast (in that it is structured around commercial breaks). A comprehensive series bible is included, as well as two full sample episodes: the pilot and episode 3.Accompanying the creative components, the academic research essay firstly looks at the significance of mental illness: particularly in terms of stigma, South African context and places of treatment. It argues that an NGO psychiatric clinic makes for an interesting setting for a TV series as it allows characters from a range of socio-economic backgrounds to be rendered equal in power and united under a 'patient' status. This section also looks at mental illness intersecting with religion or faith. Secondly, the essay gives an overview of trends in and significant instances of on-screen representations of mental illness for which it offers a critique. Thirdly, in light of the issues raised surrounding mental illness, religion and the strengths and weaknesses of on-screen fiction around the subject so far, it offers an explication of the creative choices made in the design of the TV series, which were made with the aim of a resulting TV series that is enjoyable, relevant, diverse, and open-ended in its exploration of both experiences of mental illness and religious perception and practice.
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Buchholz, Robert Henry. "Triathlon: an Original Screenplay." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504205/.
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A young man, out of college and work, sets out to make his mark on the world, by winning the endurance sport of the eighties: the Hawaiian Ironman Triathlon. As he eats, sleeps and breaths "Ironman," he shuts others out of his life because he feels that he must do it alone for the victory to be genuine; a philosophy that has been dogging him all his life.
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Su, Xinxin. "Genesis : a feature screenplay /." Online version of thesis, 2009. http://hdl.handle.net/1850/8692.
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Fawns, Kathleen Mary. "Mater Hill : a screenplay." Thesis, Queensland University of Technology, 1999.
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Mater Hill is loosely based on a true story. Liz has always craved and been denied her mother's love. After several years of trauma caused by losing her mother in a boarding house fire, she discovers that arson was involved and investigates, seeking justice. When she mediates with her mother's killer, she effects an emotional substitution. They fall in love and she persuades him to help her convict the main culprit. Even before the trial fails, she begins to reject him, psychologically completing the process of her own separation and individuation. Once Liz has this stronger sense of self, she can experience real compassion for the arsonist.
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Ritchie, Brendan. "CooperStreet' (original screenplay); and, Into the foreground : an examination of setting in the screenplay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/456.
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This thesis in Creative Writing consists of an original feature-length screenplay and an essay examining the function of setting within the screenwriting discourse. The screenplay, titled 'Cooper Street', is set in future Perth where rumors of an alien presence threaten to disrupt the state's lucrative mining industry. Setting plays a key role within 'Cooper Street'. Scenes are set across giant sweeps of desert, inside sea containers converted to inner-city housing, and within raging sporting crowds to create a believable projection of life in future Western Australia. These characteristics facilitate the accompanying essay, which explores the factors that inform decisions on setting. The topic of setting is approached on several levels. Initially there is an examination of the issue of originality. The possible advantages of using original settings, as opposed to the familiar or cliche is discussed, with several interesting findings. Secondary to this is an exploration of the relationship between setting and activity within a screenplay. Certain types of settings are suggested as being more conducive to activity, and the potential benefits of both active and passive settings are considered. Finally the issue of a setting's thematic potential is addressed. An active relationship is revealed between a screenplay's settings and thematic preoccupations. Examination of the creative implementation of this relationship confirms the potential for setting to be a defining force within screenwriting. Whilst several films are used as a reference within the essay, the main point of analysis will be 'Cooper Street'. Various decisions informing the selection of settings throughout 'Cooper Street' are examined within the theoretical framework outlined, with the aim of establishing a rationale in an area often overlooked by existing screenwriting manuals.
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Igelström, Ann. "Narration in the screenplay text." Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/narration-in-the-screenplay-text(616fca70-d82f-4ce8-b93b-ab8cfbb2da2e).html.
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This thesis examines the narration in screenplay texts. The aim is to explore how the screenwriter, through the screenplay text, communicates the potential film to the reader. The thesis thus situates the screenplay in a communicational context, and argues that the screenplay text is a means of communication. In many cases, the screenplay text is the writer's only means of communicating with a potential investor, thus determining whether the screenplay will fulfil its purpose of becoming a film. Using a communicational approach enables a close examination of the different extratextual and intratextual narrating voices that communicate the story and the look of the potential film. The thesis relates the screenplay text to narrational theories from literary and film theory, and proposes its own narrative communication model suited to the screenplay. The model places the various narrating voices on different narrative levels that show the voices' relation to the text, the fiction, and the scene. The communication model also identifies the voices' addressees. Through close readings of screenplay texts, the thesis examines how different narrating voices function and how they can be characterised. The discussions focus on how these voices use different techniques to narrate the story and indicate the look of the potential film. The discussions particularly highlight how the voices influence the readers' visualisation of the potential film, since this is a distinguishing feature of the screenplay text-type. Narration in the Screenplay Text is an important contribution to text-based screenplay research. It offers a unique approach and a clear terminology that creates a platform for future screenplay research.
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Nelmes, Jill. "The screenplay and the screenwriter." Thesis, University of East London, 2016. http://roar.uel.ac.uk/5173/.
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This critical appraisal is based on an overview of my published research on the subject of the screenplay between 2007 and 2014 when my most recent monograph, The Screenplay in British Cinema (BFI, 2014) was produced. The aim of my research has been twofold: to bring to academic attention the depth and breadth of screenplay writing as a written form, particularly within British Cinema, and to argue that the screenplay can be studied as a literary text.
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Limberger, Roberto. "Abordagens do problema isoperimétrico." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/306603.
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Orientador: Sueli Irene Rodrigues CostaDissertação (mestrado profissional) - Universidade Estadual de Campinas, Instituto de Matemática, Estatística e Computação Científica
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Resumo: Neste trabalho são apresentadas abordagens do problema isoperimétrico que podem ser utilizadas no ensino médio ou ensino universitário. Estas incluem: i) aspectos históricos, ii) deduções formais do problema (dentre as curvas de perímetro fixo, a circunferência é a que engloba a maior área) utilizando apenas geometria euclidiana ou via cálculo diferencial, iii) contextualização em problemas de otimização a serem abordados também utilizando recursos computacionais e iv) descrição detalhada de material audiovisual produzido para o ensino médio, com a participação do autor, para um projeto com suporte MEC - UNICAMP
Abstract: This dissertation presents approaches to the isoperimetric problem that can be used in high school or university education. These include: i)historical aspects, ii) formal deductions of the problem (among the curves of fixed perimeter, the circle encompasses most area) using only Euclidean geometry or calculus iii) contextualization in optimization problems to be also addressed using computational resources iv) detailed description of audiovisual material produced for the high school, with the participation of the author
Mestrado
Matematica
Mestre em Matemática
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Cousins, Robert James. "The child star syndrome, a screenplay." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0019/MQ49139.pdf.
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Hemann, Melissa. "The west Dallas gang a screenplay /." [Ames, Iowa : Iowa State University], 2008.
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Cousins, Robert James, and University of Lethbridge Faculty of Arts and Science. "The child star syndrome : a screenplay." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2000, 2000. http://hdl.handle.net/10133/97.
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Morrison, Bruce William. "Men who march away: A screenplay." Thesis, University of Canterbury. Languages and Cultures, 2008. http://hdl.handle.net/10092/1896.
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Men Who March Away is a story about men and war, an ancient narrative recipe. In particular, two men who share some traits in common with their fellows but in other respects are unique. King and country mean little or nothing to them. They don’t fight in defence of the hearth-fire as popular myth would have us believe. The First World War just coincided with the prime years of their life and appeared to them as a refuge from the torments in their personal lives.
One of them, Richard Travis, is a taciturn, troubled loner, who assimilates easily into the Army and finds self-fulfilment on the battlefield. He wins New Zealand’s highest and most prestigious military medal, the Victoria Cross but is killed in action, before he knows of his achievement.
The other is the socially marginalised yet quintessential rough diamond, James Douglas Stark, Starkie. He enlists to escape the police and resists assimilation into the Army. However, he does his bit on numerous battlefields, saves Travis’ life but receives scant recognition.
Ending up in the same battalion, they’re forced into an uneasy alliance which makes them confront and alter their attitudes to each other and to their duty.
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Oey, Jennifer. "Practicing adaptation : one screenplay, five films." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/59196/.
Full textAbstract:
In this thesis I examine the relationship between a screenplay and the films made from it. I test the hypothesis that a film based on an original (not adapted from an existing text) screenplay is an adaptation of this screenplay. In order to investigate the potential range of adaptations that occur during the process of film production, I commissioned a short screenplay which was made into a film five times, by five different production teams, each entirely independent of one another. Utilising these films as my primary set of data, I engage in comparative analysis of the screenplay to the five films and of each of the five films to one another. My framework for analysis is grounded in adaptation studies, which has engaged in close comparative analysis of novel to film, but has not made significant inquiry into the discrete phase of adaptation between screenplay and film. Additionally, I argue that an investigation into the relationship between written and filmed creative work is ideally conducted by engaging with practice and practitioners. My thesis is therefore comprised of dual written and filmed components.
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Lyon, Alicia B. "The Offering : writing a historical screenplay /." View online ; access limited to URI, 2003. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/31115633.
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Nannicelli, Theodore. "Towards a philosophy of the screenplay." Thesis, University of Kent, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544078.
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Beck, Nathan. "Carbonville : excerpts from a novel and screenplay /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1456294761&sid=10&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Saunders, Shahzneen Spencer. "From process to product : structuring the screenplay." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/36332/1/36332_Saunders_1999.pdf.
Full textAbstract:
The aim of this thesis is to make practical use of film
narrative studies and script writing theory in order to
research a method of constructing my own film screenplay.
This thesis is divided into two major sections, the
Process (Section I) and the Product (Section II) . The
Process examines historical models of narrative,
identifying characteristics of the western narrative
construct, and how they relate to film storytelling and
contemporary screenwriting. The theoretical underpinnings
draw upon the branch of film theory known as narratology.
The work undertaken in this section is about understanding
the field of screenwriting and what repertoire of
narrative devices, strategies and tools are available to
an emerging writer.
The Product (Section II) is a primary writing project,
comprising a treatment for a feature film screenplay. The
aim is to test principles of narrative construction and
the applicability of certain features of screenplay models
discussed in the Process section. The Product is about
the process of making decisions and choices from a range
of structural possibilities and crafting an original
approach and story. A reflection on the creative writing
processes concludes the section.
The intention of the Product section is not only to
produce a successful screenplay treatment but a text
suitable for a funding or corrnnissioning program, such as
the Pacific Film and Television Corrnnission's New Writers'
Scheme, the Australian Film Corrnnission's New
Screenwriters' Scheme, and the respective Drama Programs
of SBS Independent and ABC-TV. The script treatment
reflects a production budget of under one million dollars
and therefore, is eligible for the AFC's low budget film
development fund, Million Dollar Movies Fund, and the
PFTC'S LOW Budget Feature Film Fund.
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Armanno, Venero. "Three screenplay adaptations and the ownership effect." Thesis, Queensland University of Technology, 2003.
Find full textAbstract:
This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel,
and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and
employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the
film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas.
Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some
control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the
producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.
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Davison, Brad William. "The Narrative of Flippy Johnson: The Three Act Structure - Criticisms and Alternatives Script and Script Analysis." The University of Waikato, 2006. http://hdl.handle.net/10289/2454.
Full textAbstract:
In this feature screenplay, I have incorporated the complexities of an intertwining multi-strand narrative, while manipulating the materials of time and space. This has enabled me to begin my exploration into finding a suitable structure in which to tell a story that features a number of characters, all of whom are intended to represent some of human nature's darkest emotions. I have attempted to distinguish my script from the standard three-act structure. However, I do believe it is a fundamental requirement to know all the rules of a classical three-act structure in order to subvert its conventions. The three-act structure has long been a successful model for transmitting a story to the screen. It has provided the basis for many a film where a character triumphs over adversity; where good defeats bad and heroes fall in love. But what about characters that are not heroes? Protagonists who cannot be defined under the even broadest definition of heroism? Can these people thrive within the strict guidelines of a three-act structure, with its strong reliance on a hero's journey? Is there an alternative structure that can deal with these characters, a structure that can incorporate them in a narrative? This MA will attempt to answer these questions, while also investigating if the materials of time and space can be manipulated and understood when working outside the guidelines of a formulaic structure. The materials of time and space are unique to all films and they are both dealt with in different ways by screenwriters and filmmakers alike. Temporal and spatial characteristics have been studied in depth by many critics including, of particular importance to this MA, David Bordwell. Bordwell has used time and space as a way of making sense of narrative and of engaging with a film. This is something that I am attempting to achieve in the following script and commentary. Furthermore, I will try to articulate the manipulation of time and space, with the challenges of multiple strands of narrative and multiple protagonists.
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Inderbitzin, Kurt. "Suicide." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/224.
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A woman, who believes she is terminally ill, hires a man to kill her, believing that's the only way for her to escape a drawn-out, painful death while still allowing her husband to collect on life insurance. But soon after hiring the man, she realizes she's not dying, that she's been set-up.
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Hong, Ki Myung. "Exegesis and screenplay for a film entitled: White Magnolia." Click here to access this resource online, 2009. http://hdl.handle.net/10292/790.
Full textAbstract:
Most new migrants choose New Zealand as their second home country because New Zealand provides peaceful, safe and relaxed life style and also quality education compared to their homelands. However, for most migrants, settling down in New Zealand is one of the most dynamic and complex processes in their lives. Many migrants are struggling to adjust to New Zealand because the expression of cultural values is different in New Zealand than in their cultures. As migrants adjust to the new culture, their traditional cultural values are increasingly challenged by New Zealand cultural values leading to some degree of personal change. As a result, most immigrants encounter many unfamiliar cultural values in the initial stage of immigration to a New Zealand culture. This story is about the impact of culture-shock on an ordinary Korean migrant family and their struggle adjusting in a new society.
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Snead, Nicholas DeVan. "Fabulistic: Examination and application of narratology and screenplay craft." CSUSB ScholarWorks, 2011. https://scholarworks.lib.csusb.edu/etd-project/3320.
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This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.
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Bachmann, Holger. "Arthur Schnitzler's Der junge Medardus as drama, screenplay and film." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627305.
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Croasmun, Jean M. (Jean Marie). "Trapped in the Body of a Cheerleader: an Original Screenplay." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500608/.
Full textAbstract:
Trapped in the Body of a Cheerleader is a feature-length comedic screenplay using juvenile witticisms and black-comedy to tell the story of a teenaged girl accepting her own identity. The introduction, a personal essay, offers the author's personal views towards screen writing, teen-oriented films, and contemporary screen comedy.
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Mims, Sarah E. "The first adventure of Raspberry and Lime : a futuristic screenplay /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131559243.pdf.
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Zolliecoffer, James. "The Oracle." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/129.
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Ma, XiaoLu. "The Last Foreign Nuns in China Screenplay: An Exegesis to ‘The Last Foreign Nuns in China’ Screenplay: the Significance of Lost History, Docudrama and Co-production." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366574.
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This is an exegesis of the docudrama screenplay of The Last Foreign Nuns in China. It introduces the historical background of this screenplay, emphasises the significance of docudrama and analyses the pros and cons of film co-production. With the exception of the introduction and the conclusion, there are three parts to this exegesis.
Part one, Chapter 2 focuses on the literature and history review. It examines the history and literature of the Catholic Church in China and the background of the incidents. It not only highlights the relationship between the Chinese government and foreign missionaries, but also provides a historical context in which to observe the development of attitudes towards foreign missionaries in China. Three historical moments have been included: missionaries and the new technology - the Golden Age of Christianity and the Chinese Rites Controversy; the Church’s development after the Opium Wars and ‘rice bowl’ Christians.
These historical moments, as well as the historical figures, have been chosen carefully in order to summarise the positive and negative social impacts on various aspects of Chinese history. The screenplay gives the audience a brief but comprehensive understanding of the performance of the Catholic Church in ancient and contemporary history.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Neal, Sarah Jane, and sarahneal@myplace net au. "Structuring the Thrill in the True Crime Story: An Analysis of how the substructures of the classic screenplay operate in the Thriller film." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080514.095721.
Full textAbstract:
The research undertaken as the requirements of the degree is an analysis, evaluation and application of the usefulness of the substructures contained in the classic Thriller screenplay. The research identifies tools and techniques that the screenwriter can apply to the construction of a classically structured Thriller. These tools and techniques have been applied to the creation of an original feature length screenplay entitled Magnetic Fields. The substructures explored in this exegesis are those identified by screen theorist Dr Lisa Dethridge as being essential to the screenplay form, irrespective of genre. They are the premise, protagonist, dramatic problem and plot. The research identifies and defines each of these elements and examines for how they operate in the classic Thriller screenplay. Screen theorist and Thriller genre expert Neill D Hicks provides the theoretical structure for the classic Thriller. A case study, Heavenly Creatures (1994) written by Fran Walsh and Peter Jackson, illustrates the discussion of these substructures. The theories of Dethridge and Hicks are compared and evaluated for their usefulness in the construction of the original screenplay, Magnetic Fields. The story is loosely based on a true crime and the challenge in construction this screenplay was the process of identifying and employing the key conventions and techniques of the Thriller genre. Operating within the conventions of the classic Thriller enables the writer to address the requirements of both industry and audience. The film industry requires that a screenplay adhere to a number of standards relating to its format, length and the organisation of content. The audience, or the reader of the screenplay also has expectations. If a film is labelled a Thriller, the audience expects the story to provoke suspense and fear. They will expect to be thrilled. For the screenwriter to achieve this effect the research aims to prove the benefits of adhering to the structural conventions of the classic Thriller film.
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Likomanova, Yvonne. "The Dock." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1406.
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Moye, James Allan. "Signs following." ScholarWorks@UNO, 2002. http://louisdl.louislibraries.org/u?/NOD,19.
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Thesis (M.F.A.)--University of New Orleans, 2002.Title from electronic submission form. Vita. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Drama/Communications"--Thesis t.p.
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Crittenden, Nicholas. "The generative image : visual screenwriting and the substance of screenplay structure." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368359.
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