Relevant bibliographies by topics / Screenwriting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Screenwriting'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Screenwriting"

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Benis, Rita. "The origins of screenwriting practice and discourse in Portugal." Journal of Screenwriting 11, no. 1 (March 1, 2020): 27–44. http://dx.doi.org/10.1386/josc_00011_1.

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Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, focused on artistic processes, clearly present in its screenwriting culture. Such characteristics developed first under the influence of French and Italian silent cinema, through the contribution of foreign film directors who worked in Portugal and established schools there. Also important were the cinematographic experiences (film and writing) made by modernist poets during the silent film period. Finally, the powerful influence of the French Politique des Auteurs (1950s) also helped to configure Portuguese screenwriting culture. To contextualize the Portuguese experience specifically, I explore the origins of screenwriting practice and discourse in Portugal, addressing the many political, historical and financial aspects that impacted the Portuguese perception of screenwriting craft from an early stage.
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Batty, Craig. "Screenwriting studies, screenwriting practice and the screenwriting manual." New Writing 13, no. 1 (January 2, 2016): 59–70. http://dx.doi.org/10.1080/14790726.2015.1134579.

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Chiarulli, Raffaele. "«Strong Curtains» and «Dramatic Punches»: The Legacy of Playwriting in the Screenwriting Manuals of the Studio Era." Communication & Society 34, no. 1 (January 12, 2021): 109–22. http://dx.doi.org/10.15581/003.34.1.109-122.

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The Hollywood Golden Age was a revolutionary moment in the history of cinema and is pivotal to understanding the historical passage of a peculiar new art form –screenwriting. This early film period, from the Tens to the Sixties, was determined by key interactions between the respective forms of cinema and stage. Together, these interactions form a wider screenwriting “discourse.” There are reoccurring disputes in film scholarship over the paternity of the conventions and techniques of screenwriting. One solution is that techniques of theatre playwriting persisted extensively in the production practices of classical Hollywood cinema. Whether or not its professionals were aware of this is at the heart of this dispute. It is possible to identify the contribution of screenwriting manuals from Hollywood’s Golden Age toward the standardization of screenwriting techniques. The article aims to examine in the screenwriting manuals of this period some statements by practitioners who document the normalization and codification of the narrative structures used in screenwriting over time –in particular, the three-act structure. The validity and origin of the three-act structure are constantly debated among screenwriters. While this formula was known to the early writers of the Silent Era due to its legacy throughout centuries of playwriting and literature, it reappeared in the Seventies in the guise of a new theory. This article attempts to fill in certain gaps in the history of the theorization of screenwriting practices by juxtaposing statements found in screenwriting manuals and the statements of scholars and educators of this field. Ultimately, narrative conventions belonging to the tradition of theatre, as well as technological exigencies were integral in shaping the cinema techniques in use today.
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Batty, Craig. "Editorial." Journal of Screenwriting 14, no. 2 (July 1, 2023): 109–11. http://dx.doi.org/10.1386/josc_00127_2.

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This abstract introduces the 14.2 issue of the Journal of Screenwriting. It recognizes the wide-ranging approaches to screenwriting research and the range of topics that are covered. It also refers to the large number of non-screenwriting peer reviewers who are now assessing articles for the journal. It then goes on to outline the issue’s contents.
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Sawtell, Louise, Stayci Taylor, and Helen Jacey. "An interview with Helen Jacey." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 14–18. http://dx.doi.org/10.31165/nk.2017.102.503.

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Dr Helen Jacey is a screenwriter and script consultant, and teaches scriptwriting at Bournemouth University, UK. Her research interests include creative and critical approaches to screenwriting, screenwriting and gender, and screenwriting genre theory. Her book The Woman in the Story: Writing Memorable Female Characters (2010) was the first screenwriting guide for writers developing female driven projects. As a professional writer, she has written numerous film, television and radio projects for UK, US and European production companies and is currently developing a series of crime fiction novels, Elvira Slate Investigations. She is a story consultant for international filmmakers and film agencies.Editors Louise Sawtell and Dr Stayci Taylor asked Dr Jacey a series of questions relating specifically to the themes explored by the special issue: gendered practices, processes and perspectives in screenwriting. The following are the insights generously offered by this leader in the field.
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Thom, Randy. "Screenwriting for Sound." New Soundtrack 1, no. 2 (September 2011): 103–12. http://dx.doi.org/10.3366/sound.2011.0013.

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Rossholm, Anna Sofia. "Ingmar Bergman’s screenwriting." Journal of Scandinavian Cinema 4, no. 2 (June 1, 2014): 165–71. http://dx.doi.org/10.1386/jsca.4.2.165_1.

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Millard, Kathryn. "Screenwriting/Teaching: Introduction." Media International Australia 85, no. 1 (November 1997): 91–92. http://dx.doi.org/10.1177/1329878x9708500113.

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Williamson, Dugald. "Screenwriting, Screen Teaching." Media International Australia 85, no. 1 (November 1997): 93–101. http://dx.doi.org/10.1177/1329878x9708500114.

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Batty, Craig. "‘Show Me Your Slugune and I'll Let You Have the Firstlook’: Some Thoughts on Today's Digital Screenwriting Tools and Aprs." Media International Australia 153, no. 1 (November 2014): 118–27. http://dx.doi.org/10.1177/1329878x1415300114.

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Today's market is inundated with digital screenwriting tools and apps. From the introduction of formatting software that promised to give writers access to industry standard screenplay layout (Final Draft, Celtx) comes an era in which technologists are seeking to influence screenwriting practice itself (Scrivener, Slugline, Plotbot, StorySkeleton). Although perhaps not as explicit in their claims of success as the plethora of seminars by screenwriting ‘gurus’, digital tools and apps do in some ways promise a range of solutions to everyday screenwriting problems, at the very least by assuring users that they will help manage the logistics that often get in the way of creativity. But what do these digital interventions actually do? Do they shape creative practice, or merely provide tools to format a screenwriter's existing ideas? Do they help the writing process, or the processing of writing? This article examines some of the digital screenwriting tools and apps on the current market, and examines what they offer script development and writing practice. By reflecting on my own involvement in an online screenplay assessment platform, the article also suggests how embracing pedagogical aspects of screenwriting might give digital tools and apps the opportunity to help shape creative practice.
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Dissertations / Theses on the topic "Screenwriting"

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Mullins, Anthony. "Screenwriting with Stanislavsky : Augmenting a Screenwriting Process Using Stanislavsky’s ‘System’." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366510.

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When screenwriter and doctoral candidate, Anthony Mullins, first started studying Konstantin Stanislavsky’s ‘system’ of performance and script analysis, he hoped the well-known acting technique would be a useful tool for screenwriters. Mullins assumed that because Stanislavsky’s technique analysed all the characters of a story (not just the protagonist) it would naturally be a more detailed approach than conventional techniques like the ‘three-act structure’. It also appeared that Stanislavsky’s ‘system’ had the added advantage of being familiar to actors, the very people who would eventually bring the screenplay to life. However, as Mullins began adapting Stanislavsky’s techniques to his screenwriting process he found it was instead counter-productive, particularly in how it mirrored many of the prescriptive limitations of the ‘three-act structure’. Further research of Stanislavsky’s late-career techniques revealed his wariness of “over-analysis” and the embrace of more intuitive and little-known improvisational techniques, referred to by Stanislavsky as ‘active analysis’. The research centres on the creation of three original TV drama pilot scripts and the Stanislavsky-influenced techniques Mullins used to create the screenplays.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Fernandes, Bahia Baer Carlos. "Screenwriting in the era of binge-watching." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392833.

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Nástup VOD přinesl novou formu spotřeby obsahu: binge-watching. Tato práce zkoumá, jak tento posun začal ovlivňovat scénář seriálů, které jsou koncipovány tak, aby byly zhlédnuty hned po sobě (binge-watched).
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Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.

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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world. The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams. The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
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Cake, Susan A. "Narrative comedy screenwriting: Facilitating self-directed, transformative learning." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116355/8/__qut.edu.au_Documents_StaffHome_StaffGroupH%24_halla_Desktop_Susan_Cake_Thesis.pdf.

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This creative practice-led research examines the author's transformative learning experience that was facilitated by writing narrative comedy screenplays. Critical reflection on experiences of change management informed the themes and characters in the proposed television series titled Fighting Fit. Critical feedback from a professional script editor, as an industry mentor, was incorporated into the writing process as part of the action research cycle. The exegesis examines the self-directed, transformative learning journey which revealed how parody can perform creative resistance to the corporatisation of education. This thesis contributes new knowledge to screenwriting practice and screenwriting as creative practice-led research.
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Maxwell, Nicholas Elliott, and nmaxwel1@bigpond net au. "Black Comedy and the Principles of Screenwriting/The Actions." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081212.123034.

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This exegesis will aim to research and analyse the conventions of writing a black comedy in a feature film script. As a screenwriter with a particular interest in black comedy, my aim is to explore the technical structures of black comedy in order to facilitate the writing of a tragicomic screenplay. We will attempt to define the components of black comedy and survey its origin in theatre and literature. The exegesis will aim to explore what components comprise the middle ground between drama and humour and position it in relation to the classical genres of tragedy and comedy. The exegesis will also aim to examine the function of black comedy in relation to the psychology of the protagonist and the audience, as well as defining the characteristics of the genre in the context of Screenwriting. The exegesis will observe the film adaptation of the renowned play, Who's Afraid of Virginia Woolf? as a case study. The research will inform the writing of the feature length screenplay entitled The Actions.
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Noble, Carol Susan. "'A people to come' : screenwriting the new social subject." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4088.

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In this thesis I am going to investigate they ways in which characters in script texts might be re-written in order to move them away from being narrative objects and towards a sense of them as ‘different social subjects’. By this I mean characters that are capable of multiple telling and that are portrayed as self-aware, self-determining individuals. Why should I want to do this? The 3-Act structure and the associated formula for creating characters, to which most modern films adhere, compels the screenwriter to objectify all of the individuals portrayed. One reason for this is that the formula trades on a confusion between a character's 'identity' and the criteria we use to 'identify' them. Another reason is the 3-Act structure's demand for a seamless, cause-and-effect storyline and its simple interpretation of space and time. To meet these ends, the writer is forced to reduce characters to the status of objects. In order to arrive at a new methodology I will investigate theoreticians and practitioners who have discussed subjectivity. As a result of this I will propose a range of strategies a screenwriter might use to create subjects (rather than objects). And I will propose strategies for recognising the complexity of each character's identity. I will argue also that a film can be intelligible without a seamless cause-and-effect storyline; and where it reflects a subject's actual spatial/temporal experiences. I will then show how I would use these strategies (and others) when writing a film text: Fungus. In my last Chapter, I will try to assess how useful my new method has been, firstly, for my work as a screenwriter and, secondly, in the opinion of other practitioners in the film industry.
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Curran, Stephen Charles. "Early screenwriting teachers 1910-1922 : origins, contribution and legacy." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/13581.

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This thesis demonstrates the previously unacknowledged contribution made by early screenwriting teachers to the development of the Hollywood film industry from 1910 to 1922. Through a study of five key screenwriting teachers from the period, it shows the significant role played by such figures in the translation of playwriting theory and theatrical tradition into writing for film. Drawing on an extensive range of primary materials, including manuals and columns written for the fan and trade press, it demonstrates the role played by such teachers in the formation and codification of a set of writing techniques specific to the film medium. In doing so, this thesis fills an important gap in the historiography of screenwriting in Hollywood, giving due credit to a body of work that has previously received only passing consideration, and highlighting the role of early screenwriting teachers, which has previously been understated if not ignored. The thesis also examines some aspects of their legacy in the context of the role and function of contemporary screening gurus.
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McAulay, Alexander. "The western screenwriter in Japan : screenwriting considerations in transnational cinema." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/30896/.

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This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Japanese cinema and provide new knowledge to transnational cinema and screenwriting research. The critical commentary that accompanies the screenplay takes a dialogic approach in practice-led research to explore how various issues emerge for the Western screenwriter in Japanese cinema. These problems are examined with regard to relevant theory, and contextualised in considerations of various films in Japanese-language cinema written by non-Japanese screenwriters. One salient issue is the application of the Hollywood ‘universal’ model of screenwriting to stories about Japan. I also explore the role of agency in screenplay authorship, in particular with regard to notions of ‘Japaneseness.’ I suggest notions of ‘Japaneseness’ are a particular challenge for my creative practice, and examine them in the context of national-transnational tensions in cinema. I draw on theories of transnational cinema to argue that the screenplay written for this PhD, Welcome to Prime-time, is an ‘accented Japanese screenplay.’ I go on to outline how accented Japanese screenplays might be positioned in relation to Japanese national cinema and transnational cinema discourses. I then discuss ‘Japaneseness’ in terms of a related issue: Orientalism. I show how Orientalism remains a trenchant concern for non-Japanese screenwriters representing Japan. This leads to a discussion of how a process of reflective authenticity might equip such screenwriters to depict ‘the Other’ in ways that circumvent Orientalist tropes in order to synthesise both local and global concerns. The process of critical reflection is threaded throughout the PhD, and concludes with a consideration of the notion of ‘becoming Japanese’ as it is depicted in my screenplay, and in my own journey within practice-led research. I posit that this PhD adds to our understanding of transnational screenplays and the contexts transnational screenwriters work within. Furthermore, I suggest the screenplay exhibits a new approach to achieving an ‘authentic’ representation of Japan and the Japanese by Western screenwriters. Note: It is recommended that the reader start with Chapters 1-4 of the critical exegesis. Ideally, the screenplay should be read after Chapter 4 and before Chapter 5. This is indicated in the text.
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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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Ajayi, Olugbenga Bamidele. "Transcending the oral roots of screenwriting practices in the Nigerian cinema." Thesis, Bournemouth University, 2017. http://eprints.bournemouth.ac.uk/29007/.

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Nigeria has no developed tradition of screenwriting and films tend to be built on principles and techniques derived from oral heritage. Thus the oral and the performative dominate Nigerian film language. The core research problems and questions of this project revolve around how screenwriting practices can be evolved, given the strong influence of oral traditions. The key aim of my practice led research is to improve the quality of Nigerian films by building on and transcending the oral traditions, through developing a more visual and cinematic approach to screenwriting in Nigeria. The research asks: how can the Nigerian Screenwriter evolve an understanding of the concept of screenwriting that is akin to that of other advanced cinema cultures, while maintaining their cultural heritage? In order to achieve my aim of developing a more cinematic approach to screenwriting in Nigeria, the first stage in my research involved looking at, and contextualising three case studies, namely, Thunderbolt (Nigeria, 2001), written by Adebayo Faleti and Femi Kayode, and directed by Tunde Kelani, Chinatown (U.S.A. 1974), written by Robert Towne and directed by Roman Polanski, and L’argent (France, 1983), written and directed by Robert Bresson. I was able to explore the role of the screenplay in shaping cinematic language and the relationship between screenwriting and directing. I also looked briefly at the context of oral storytelling, conducting interviews with prominent Nigerian Academics. Following the case studies, I identified a number of cinematic ingredients, such as how dialogue, mise en scene and visual images were engaged in conveying the key moments of the films, telling the stories and conveying meaning and values to the viewer. These cinematic ingredients also guided me in designing creative practice experiments, including a detailed process of cinematically interpreting a traditional oral story which involved making a documentary on how such stories are told traditionally, writing short screenplays, adapting the same story and making short films, also exploring ways of telling the same story. As part of my methodology, I employed the reflexive practice approach, by reflecting on each experiment and using the interim findings to shape my next experiments. This process resulted in a number of rewrites and drafts of my short screenplays. The results of the findings from my experiments and series of reflections are explored further and disseminated through my final output, a feature screenplay supported by a critical evaluation.
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Books on the topic "Screenwriting"

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Grierson, Tim. Screenwriting. Lewes, East Sussex: Ilex, 2013.

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Frensham, Raymond G. Screenwriting. Chicago, Ill: McGraw-Hill, 2005.

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Kallas, Christina. Creative Screenwriting. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06114-0.

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Deemer, Charles. Practical screenwriting. Newburyport, MA: Focus Pub., 2005.

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Maras, Steven, ed. Ethics in Screenwriting. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54493-3.

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Stevens, Andrew. Screenwriting for Profit. New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315668659.

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Batty, Craig, ed. Screenwriters and Screenwriting. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137338938.

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Schellhardt, Laura. Screenwriting for dummies. 2nd ed. Indianapolis, IN: Wiley Pub., 2008.

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Wright, Kate. Screenwriting is Storytelling. New York: Penguin USA, Inc., 2009.

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Schellhardt, Laura. Screenwriting for dummies. New York, NY: Wiley, 2003.

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Book chapters on the topic "Screenwriting"

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Lang, Marty. "Screenwriting." In The Self-Sustaining Filmmaker, 60–77. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003295754-4.

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Angler, Martin W. "Screenwriting Techniques." In Telling Science Stories, 157–80. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351035101-7.

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Macdonald, Ian W. "Screenwriting Studies." In Screenwriting Poetics and the Screen Idea, 216–26. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9780230392298_10.

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Greenberg, David J. "Screenwriting hacks." In Screenwriting for Micro-Budget Films, 49–64. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003138969-5.

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Batty, Craig, and Sandra Cain. "Screenwriting: Fictional Formats." In Media Writing, 192–229. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-52955-8_8.

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Batty, Craig, and Sandra Cain. "Screenwriting: Factual Formats." In Media Writing, 230–61. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-52955-8_9.

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Ksenofontova, Alexandra. "Anti-mimetic Screenwriting." In The Modernist Screenplay, 159–91. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50589-9_8.

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Millard, Kathryn. "Conclusion: Sustainable Screenwriting." In Screenwriting in a Digital Era, 178–85. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137319104_11.

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Price, Steven. "Historiographies of Screenwriting." In The Palgrave Handbook of Screenwriting Studies, 207–23. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20769-3_11.

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Benito, María Rodríguez-Rabadán. "Branded Entertainment Screenwriting." In Branded Content and Entertainment in Advertising, 84–96. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003310686-5.

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Conference papers on the topic "Screenwriting"

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Amira, Teimzit, and Bensebaa Tahar. "Screenwriting in an ILE of algorithmic." In 2012 International Conference on Information Technology and e-Services (ICITeS). IEEE, 2012. http://dx.doi.org/10.1109/icites.2012.6216636.

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Uehara, Daiki, Hiromitsu Shimakawa, and Fumiko Harada. "Improvement of Story-telling Advertisement According to Screenwriting Techniques." In 16th Conference on Computer Science and Intelligence Systems. PTI, 2021. http://dx.doi.org/10.15439/2021f72.

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Agrawal, Rakesh. "Inside the Jokes: TV Search Technology Yields Creative, Comedic Screenwriting." In SMPTE Technical Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001392.

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Solis, Augusto-Pavel. "THE POWER OF THE AUTHOR: PROTAGONIST PROFILE IN A PANDEMIC SCREENWRITING COURSE." In 14th annual International Conference of Education, Research and Innovation. IATED, 2021. http://dx.doi.org/10.21125/iceri.2021.2145.

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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatorium, near Calarasi, (1997), in Vadul lui Vodă (2001),and Râbniţa (2020); some national and international festivals were held in the country: the Festival of Contemporary Dramaturgy in the Republic of Moldova, (May 2-8, 1998), the International Theater Festival „Satiricus I.L. Caragiale” (2008, 2011, 2018, 2020), the „Verbarium” International Festival of Contemporary Dramaturgy(2013, 2014). The results of these actiivities were reflected in specialzed collections, many pieces were written, necessary translations were made depending on the specifics of the linguistic event etc.
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Tipa, Violeta. "Ivan Turbincă’s story: the road to the big screen." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.11.

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One of the few masterpieces, created at the Moldova-film studio based on a work from the national classics, was and will remain the film Se caută un paznic/ Looking for a guard (1967) directed by Gheorghe Vodă, a film inscribed in the golden fund of national cinematography. Today, the film is of interest as a separate work, which managed to convey the author’s visions and his national spirituality, as well as the history of its creation. The materials kept in the funds of the National Archive of the Republic of Moldova allow us to restore more or less the epic of this cinematographic work, starting with 1964, when Vlad Ioviță, a young graduate of the Advanced Courses in Screenwriting and Directing, inspired by the well-known tale Ivan Turbincă by the classic of our literature Ion Creangă, submits the offer for the film. By studying archive materials, we will be able to follow the pilgrimages of the literary script until the release of the film Se caută un paznic in 1968 on the big screen. The journey of the literary script to the big screen opens new perspectives in the awareness of the socio-cultural and ideological conditions, which provoked such an original vision of Creanga’s tale.
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