Journal articles: '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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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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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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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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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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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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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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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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Voloshina, Tatiana, Natalia Nerubenko, and Julia Blazhevich. "LINGUISTIC AND CULTURAL PECULIARITIES OF NIGERIAN SCREENPLAYS." Bulletin of Chelyabinsk State University 476, no. 6 (September 15, 2023): 94–102. http://dx.doi.org/10.47475/1994-2796-2023-476-6-94-102.

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The article deals with the features of linguistic and cultural picture of the world representation on the example of Nigerian screenplays. The authors of the research analyze the features of the Nigerian cinematographic art which is the reflection of the Nigeria national picture of the world, that is subject to the dominant influence of the British English language influence. In the course of the work, the key characteristics of the screenplays of Nigeria are revealed, viz. the influence of the phenomenon called creolization which is the forced adaptation process of the British English language to the norms of the Nigerian autochthonous languages and cultures. The key characteristics of the Nigerian screenplays grammatical structures are due to the interference processes of autochthonous Nigerian languages Hausa, Yoruba, Igbo with English.

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Caltabiano, Frank P., and Tennessee Williams. "Stopped Rocking and Other Screenplays." World Literature Today 59, no. 3 (1985): 428. http://dx.doi.org/10.2307/40140937.

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Tucker, Stephanie, and Joanne Klein. "Making Pictures: The Pinter Screenplays." Theatre Journal 39, no. 1 (March 1987): 123. http://dx.doi.org/10.2307/3207644.

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Park, Jong-duck. "Cinematic Politics in Pinter’s Screenplays." Journal of Modern British & American Language & Literature 34, no. 2 (May 31, 2016): 181. http://dx.doi.org/10.21084/jmball.2016.05.34.2.181.

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NANNICELLI, TED. "Why Can't Screenplays Be Artworks?" Journal of Aesthetics and Art Criticism 69, no. 4 (November 2011): 405–14. http://dx.doi.org/10.1111/j.1540-6245.2011.01484.x.

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Mello, Marcelo C. "Cinema Novo vs. Beatlemania: Discovering the use of sound and music in two unfilmed and unpublished Brazilian screenplays from the mid-1960s." Soundtrack, The 15, no. 1 (November 1, 2023): 29–43. http://dx.doi.org/10.1386/ts_00025_1.

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In this article, I analyse sound and music in two unfilmed screenplays written by filmmakers Sergio Person and Jean-Claude Bernardet: SSS against Jovem Guarda (1966) and The Plague of the Ruminants (1967). Why would two leading figures of the politically engaged Cinema Novo jump into a commercial project with the ‘alienating’ leader of the Americanized Jovem Guarda? Their next project, The Plague of the Ruminants, contested the dictatorship. Inspired by magical realism, it would use Hollywoodesque fantastic spectacle. Through interesting interventions on the soundtrack, Person and Bernardet subtly denounced Jovem Guarda’s support for the military regime. This ironically contrasts with the soundtrack to SSS against Jovem Guarda. The article contributes to studies of sound and music in screenplays. I analyse different aspects pertaining to sound and music, compare these screenplays to other completed film projects by Person and Bernardet and place them in the context of Brazilian culture and politics.

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Slater, Ben. "“Sound-Conscious” Screenwriting: Considering sound as storytelling tool in the screenplay." International Journal of Film and Media Arts 8, no. 3 (December 29, 2023): 74–88. http://dx.doi.org/10.24140/ijfma.v8.n3.05.

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This essay considers issues relating to how sound has been treated historically by screenwriters, and advocates for a more “sound-conscious” screenwriting practice. From my own position as a screenwriter and educator of student screenwriters I begin by looking at common assumptions about the use of sound in screenplays and explore the challenges of including sound as part of a screenwriting practice; then I develop a framework by which screenwriters can identify different categories of sound in order to recognise potential for using sound as a storytelling tool within screenplays. This leads to an analysis of two examples of what could be defined as sound-conscious screenwriting, The Conversation (1974) and A Quiet Place (2018) and the framework is also applied to a sample of recent unproduced screenplays. I conclude with thoughts about how ‘sound-consciousness’ can be encouraged through the pedagogy of screenwriting.

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Gantar, Damjana, and Mojca Golobič. "Screenplays: From knowledge to devicing policies." Urbani izziv 17, no. 1-2 (2006): 204–7. http://dx.doi.org/10.5379/urbani-izziv-en-2006-17-01-02-009.

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Hải Yến, Bùi. "Poetry in Luu Quang Vu’s screenplays." Journal of Science, Social Science 61, no. 5 (2016): 67–72. http://dx.doi.org/10.18173/2354-1067.2016-0061.

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Mota, Miguel. "Greenaway’s books: Peter Greenaway’s published screenplays." Journal of Screenwriting 2, no. 2 (March 15, 2011): 229–48. http://dx.doi.org/10.1386/josc.2.2.229_1.

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O'Meara, Radha. "Sexism From Page to Screen." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 79–91. http://dx.doi.org/10.31165/nk.2017.102.506.

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This article analyses how characters are described in recent Hollywood screenplays, and notes that female characters are routinely described very differently than male characters. Male characters are commonly named and described expansively, whereas female characters are often unnamed, described meagrely, highly sexualised and infantalised. How characters are described in screenplays matters, because it impacts on production practices, the nature of workplaces, the films produced, and the gender representations we see daily on our screens. Conceptualizing this as a problem of screenwriting rather than an abstract problem of representation helps us imagine and enact change for people both imagined and real.

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Böhm, Carina. "What we cannot see in Sound of Metal and Her Smell: Interplays of awareness, perspective and language in the screenplay text." Journal of Screenwriting 13, no. 3 (November 1, 2022): 283–98. http://dx.doi.org/10.1386/josc_00101_1.

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A common belief in screenwriting practice dictates that a screenplay should only include what can be heard and seen, keep emotions at bay and avoid literary inflections. Perspective, however, only becomes visible with the limitations of its visibility. What cannot be seen can be as meaningful for the story as what can. In considering the collaborative translation process from what is written to what is filmed, I will investigate the communicative effects of using different storytelling languages in the writing of perspective. Establishing the interrelationship of perspective, awareness and languages, this article will analyse examples from two screenplays, The Sound of Metal and Her Smell, to explore the different impacts of writing styles on awareness and perspective in telling the screen story. I will argue that processes of individual and collaborative awareness play a crucial role in screenwriting to communicate outside and inside perspectives of character.

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Iwuh, John, and Nicodemus Adai Patrick. "Reading the docufiction script: Harnessing the thin line between facts and fiction." Journal of Screenwriting 13, no. 3 (November 1, 2022): 375–87. http://dx.doi.org/10.1386/josc_00107_1.

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The ethical issues raised by merging facts and fiction in docufiction screenplays as a genre suitable for social impact storytelling still linger. Hence, for the intended message to be effectively passed, the genre, formatting and narrative technique have to be clearly established for the readership’s consumption. Therefore, this article will investigate how facts are reinforced by fiction in docufiction. Textual analysis of Nicodemus Adai Patrick and John Iwuh’s is employed in exploring narrative techniques and formatting as indicators of the proportion of facts and fiction in a docufiction screenplay. It concludes that docufiction is a deliberate document with a mission in which the fact supplies the foundation on which fiction stands. Pre-knowledge of the embedded fact is primal to a deeper appreciation of a docufiction. It concludes that the readership’s level of comprehension and satisfaction will be enhanced if the thin line between facts and fiction is spotted.

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Boukemmouche, Hanane, and Samira Al-Khawaldeh. "The Monomyth or the Hero’s Journey in William Faulkner’s Screenplays: The Last Slaver and Drums Along the Mohawk." Theory and Practice in Language Studies 12, no. 12 (December 1, 2022): 2527–34. http://dx.doi.org/10.17507/tpls.1212.07.

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Numerous critical works have dealt with the fiction of William Faulkner. However, little research has been done about his significant work for the screen. Most studies that have dealt with Faulkner’s screenplays focus on comparing between the fiction and the screenplays detecting especially how cinematic elements have found their way into the author’s works of literature. Hence, this article explores two of Faulkner’s 1930s screenplays, looking at the narrative structures of the scripts, seeking to find out to what extent they are consistent with the structure of the monomyth, the concept introduced by Joseph Campbell. Moreover, the study depicts the main stages of the monomyth, or the hero’s journey, as it traces the main protagonist’s path from the start of his quest till he reaches the end of his adventure and goes through the main trials he has to experience. By applying Campbell’s theory of the mythological hero’s journey and referring to Carl Jung’s ideas on the process of individuation, the study exhibits the psychological development of the main protagonists through the different phases of the monomyth and presents their final transformation and full growth as a result of the tests they have undertaken throughout the journey.

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Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (January 28, 2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.

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Taylor, Stayci. "Hidden a-gender?" Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 4–13. http://dx.doi.org/10.31165/nk.2017.102.508.

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This article is concerned with the ways in which a screenplay might be ‘gendered’ or gender identified and, more specifically, how screenwriting practice is informed by, and performs, notions of gender. It asks, in what ways might screenplays be gendered? What is the role of gender in the individual screenwriter’s own practice? And how might cultural assumptions around gender be enacted by and within screenwriting practices (especially mainstream script development processes) and discourse? The article discusses the potentially gendered biases of mainstream screenwriting frameworks (and the how-to market disseminating the same), and then the ways in which this impacts, in particular, the practices, perspectives and representations of women coming to the page, and also briefly examines the tactic of writing for gender-blind casting, concluding that this liberal feminist strategy does not address the inherent cultural assumptions at play in script development processes. Ultimately, the article argues that in cultural system that are inherently gendered, then gendered assumptions may underpin the commercial mainstream script development process.

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오영미. "A Study on Han Woon-sa's Screenplays." Cross-Cultural Studies 12, no. 1 (June 2008): 265–98. http://dx.doi.org/10.21049/ccs.2008.12.1.265.

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Callenbach, Ernest. ": Five Screenplays by Preston Sturges . Brian Henderson." Film Quarterly 38, no. 4 (July 1985): 54. http://dx.doi.org/10.1525/fq.1985.38.4.04a00340.

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Gale, Steven H. ": Making Pictures: The Pinter Screenplays . Joanne Klein." Film Quarterly 39, no. 4 (July 1986): 44–45. http://dx.doi.org/10.1525/fq.1986.39.4.04a00190.

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Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (September 1, 2019): 295–306. http://dx.doi.org/10.1386/josc_00005_1.

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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).

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Villela-Dean, Noemi. "Do the Right Thing: Storytelling Secrets of Five Screenplays That Embrace Diversity, Karla Fuller (2023)." Journal of Screenwriting 14, no. 3 (December 1, 2023): 338–42. http://dx.doi.org/10.1386/josc_00138_5.

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Review of: Do the Right Thing: Storytelling Secrets of Five Screenplays That Embrace Diversity, Karla Fuller (2023) Studio City, CA: Michael Weise Productions, 112 pp., ISBN 978-1-61593-340-2, p/bk, USD 26.95

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Bahren, Bahren, Syahrul Ramadhan, Mezia Kemala Sari, and Hermawati Syarief. "Students’ Perception on Ideas' Role in Film Story Scenario Writing Learning." AL-ISHLAH: Jurnal Pendidikan 15, no. 1 (December 22, 2022): 25–32. http://dx.doi.org/10.35445/alishlah.v15i1.1509.

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This study aims to know the extent of students' perceptions of the importance of ideas in writing a film screenplay. The research approach uses a qualitative descriptive method. Data were collected through observation and questionnaires. The participants are fifth-semester students, as many as 42 people in the audio-visual class. The data were analyzed through three stages, namely data reduction, data presentation and conclusion. The results of data analysis found that most of the students, or 87.3%, students knew what ideas were in writing film scenarios. In addition, it was also found that ideas related to family are a concept that is considered by students as the easiest notion to write into scenarios. This is due to the proximity to the source of thought in writing. Meanwhile, the concept of tradition and traditional arts is an idea that is considered the most difficult for them to write because students lack experience and information related to tradition and art. The results of this study serve as a guide for teachers in developing students' ability to write film screenplays.

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Dasenbrock, Reed Way, and Hanif Kureishi. "London Kills Me: Three Screenplays and Four Essays." World Literature Today 66, no. 4 (1992): 724. http://dx.doi.org/10.2307/40148705.

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Macdonald, Ian W. "The search for early British scenarios and screenplays." Early Popular Visual Culture 6, no. 1 (April 2008): 79. http://dx.doi.org/10.1080/17460650801948455.

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Hark, Ina Rae. "Making Pictures: The Pinter Screenplays by Joanne Klein." Comparative Drama 21, no. 1 (1987): 98–100. http://dx.doi.org/10.1353/cdr.1987.0030.

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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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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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Eremenko, E. D. "«Deputy of the Baltic»: dramatic representation of the image of an intellectual in Soviet culture." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 33–38. http://dx.doi.org/10.30725/2619-0303-2020-4-33-38.

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Theatrical and cinematic future of so-called by «revolutionary tale» by L. Rakhmanov is unique by its establishment. Both script and screenplay went through several editions. The result contains typical signs of soviet propaganda of 1930s, in all their contradictory continuity. Artistical research is united with soviet agitation, gravity of dramaturgical conflict is united with gravity of philosophical conflict. Main character, professor Polezhaev, is good representative of prerevolutionary intelligentsia, positively accepts changes after 1917. His opinion becomes the reason of occurrence of two groups, supporters and opponents of main character. Leonid Rakhmanov’s libretto had four varieties: staged one («Hectic senility») and two screenplays. All of them are different from “Baltic deputy” (1937, ed. by I. Hejfic and A. Zarchi). Analysis of plot evolution, from the scenario idea to the finished fi lm, is important for the large amount of people, from the cinephiles to the experts such as dramatists, editors and directors. Authors’ ways of «Polezhaev’s case» creation (on the stage, in scripts and fi lm) are significant. Theme of intellectual who lives in eras’ breaking point and confidently declares his honest citizenship is still important.

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Winer, David. "Towards Expressive Automated Storytelling Systems." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 1 (June 25, 2021): 304–6. http://dx.doi.org/10.1609/aiide.v13i1.12911.

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This work addresses the problem of generating narrative fiction by using a plan-based language to model schematic knowledge of storyworld mechanics (fabula) and communicative plans (discourse). The paper outlines an approach to extract fabula and discourse from screenplays as a way to overcoming an authorial bottleneck problem.

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Reid, Mark A. "Screenplays of the African American Experience Phyllis Rauch Klotman." Film Quarterly 46, no. 2 (December 1992): 60–61. http://dx.doi.org/10.2307/1213015.

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Zhang, Chunbai. "The Translating of Screenplays in the Mainland of China." Meta 49, no. 1 (September 13, 2004): 182–92. http://dx.doi.org/10.7202/009033ar.

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Abstract This essay discusses the translating of screenplays for dubbing in the mainland of China. It is shown that, besides the basic requirements of immediate comprehensibility and lip synchronization, the dubbing of foreign films and TV series into Chinese is subject to a number of linguistic, cultural and political constraints, which in turn put a limit on the “exotic” space in the dubbed films and TV series. A number of relevant translation strategies are then discussed, including literal translation, reduction of the original image to sense, and deletion. It is emphasized that since the basic principle of screen translation should be one of equivalent effect, the translator should endeavor to reduce the processing effort of the audience. Furthermore, it is pointed out that this “exotic” space has been increasing along with the narrowing of the cultural gap between China and the West.

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Smuts, Eckard. "Book Review: J. M. Coetzee: Two Screenplays." English in Africa 43, no. 1 (June 24, 2016): 149. http://dx.doi.org/10.4314/eia.v43i1.8.

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Journal articles on the topic 'Screenplays'

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