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Dissertations / Theses on the topic 'Screenwriting'

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

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1

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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2

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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3

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Mullins, Anthony. "The plot against character : Towards a character-centred model of screenwriting." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15942/1/Anthony_Mullins_-_The_Curlies.pdf.

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Summary of exegesis A review and critique of some of the most popular screenwriting concepts as well as a proposal for a screenplay model that seeks to conceptually synthesise character with structure. Summary of Screenplay When Andrew's infamous punk band is forced to earn extra money playing part-time as a children's act they unexpectedly discover a potentially lucrative market for their music. Unfortunately, playing to screaming three year olds is not the rock and roll lifestyle Andrew was hoping for as he approaches his thirtieth birthday. Tensions within the band grow and the old friends are forced to decide not only the future of their music, but also rest of their lives.
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Mullins, Anthony. "The plot against character : Towards a character-centred model of screenwriting." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15942/.

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Summary of exegesis A review and critique of some of the most popular screenwriting concepts as well as a proposal for a screenplay model that seeks to conceptually synthesise character with structure. Summary of Screenplay When Andrew's infamous punk band is forced to earn extra money playing part-time as a children's act they unexpectedly discover a potentially lucrative market for their music. Unfortunately, playing to screaming three year olds is not the rock and roll lifestyle Andrew was hoping for as he approaches his thirtieth birthday. Tensions within the band grow and the old friends are forced to decide not only the future of their music, but also rest of their lives.
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13

Trevino, Ryan. "Packingtown." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/131.

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14

Warzak, Katheryn. "VelociRapture." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2113.

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15

Hunter, Catherine Jane. "The Transmogrification of St Bunnycrisp." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20716.

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Into the life of cowardly Poppy comes a scary 6 foot tall talking rabbit whose job it is to give bullies a taste of their own medicine. But Poppy is a good girl, it's Jessica who's mean, who makes Poppy's life miserable, who gave Poppy the stupid rabbit as a 10th birthday present in the first place! But then he was just a soft-toy; not this monster in her closet. Did St. Bunnycrisp get sent to the wrong girl? On the way to finding the answers to these questions Poppy and St. Bunnycrisp become best friends and go on adventures in a parallel fantasy realm. That is until St. Bunnycrisp's fate is threatened by the cruel Icemaiden, and Poppy will have to find the courage to save her friends' lives on her own.
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16

Espost, Carla Inez. "Duiwelsdorp (2015): a Sangoma's story of South Africa." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20034.

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"I live my life with stories that came before me. I tell stories because of stories that were told before. I wrote a story, a screenplay, called Duiwelsdorp 'Devil Town' because of stories that were told before me, to me and now a story lives within me. I am a storyteller because I am a woman, born from woman, alive through story. I am a woman because I give birth - to story, who actually first gave birth to me…It is in this sense that I then take up my place next to this "new generation of post-apartheid South African filmmakers" (storytellers/historians) and assume the duty of reminding my society "of its near and distant origins, of the experiences that shaped it, of its cultural wellsprings" (Confino, 1997: 1187). I took it upon myself to tell another real story of South Africa, the story of Johannesburg, the story of Duiwelsdorp (2015)… By choosing to tell the story of Jack McKeone and other white outlaw heroes, Duiwelsdorp (2015) challenges the popular notion of criminality and delinquency in South Africa. " - Carla Espost in Duiwelsdorp (2015): A Sangoma's Story of South Africa.
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17

Jacey, Helen J. "Journey to nowhere : the writing of Loy and Christopher Vogler's screenwriting paradigm." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5211/.

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This practice-based PhD comprises an original screenplay Loy, about the modernist poet and artist Mina Loy (1882-1966), and a thesis which reflects on the writing of the screenplay using The Writer's Journey by Christopher Vogler (2007) as a creative aid. Vogler presents a screenwriting paradigm called The Hero's Journey which is adapted from the mythological theories of Joseph Campbell (1949) and is influenced by Jungian psychology. The research question asks how the Hero's Journey is relevant to the development of Loy with two female protagonists and whether the paradigm is universal in terms of gender. A secondary aim considers the potential value offered by Jungian feminist paradigms of Murdock (1990), Shinoda Boden (2004) and Pinkola Estes (1992) to the writing of Loy. The thesis reflects on the creative process of using these paradigms, and evaluates their effectiveness for Loy which explores the themes of identity and intimate relationships from a feminist perspective. Chapter 1, 'The Transformational Journey', explores the usefulness of the stages of the Hero's Journey to the structure and character stories of Loy's protagonists. Chapter 2, 'The Heroine's Journey', questions to what extent Murdock's 'Heroine's Journey' offers alternative value for the development of narratives with female protagonists. Chapter 3, 'Archetypes and Character', explores the archetypes of both Vogler and Jungian feminism as creative systems for character development in Loy. Chapter 4, 'Beyond Heroes', describes how the application of Jungian concepts which are wider than those used by Vogler assists the exploration of intimate relationships in Loy. The Conclusion contends that while Vogler's paradigm has some value for the writing of Loy, it is limited for the exploration of relationships and there is a masculine bias to his principles. An emerging screenwriting framework for relationship-orientated narratives with protagonists of both sexes is then proposed which may be useful to screenwriters.
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Conor, Bridget Elizabeth. "Screenwriting as creative labour : pedagogies, practices and livelihoods in the new cultural economy." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/2642/.

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This thesis analyses screenwriting as an exemplary and idiosyncratic form of creative labour in the ‘new cultural economy’ and specifically, in the contemporary UK screen production industry. Using a critical sociological framework combined with a neo-Foucauldian understanding of work and subjectivity, a series of explicit analytical connections are made in this project, between screenwriting, creative labour and the new cultural economy. I contend that screenwriting, as a form of creative labour which in many ways eschews the term ‘creative’, is an instructive, timely case study precisely because it agitates traditional dichotomies - between creativity and craft, art and commerce, individual and collaborative work - in pedagogy and practice. After tracing the dynamics of this form of creative work in theoretical, discursive and historical terms, I then analyse how screenwriting is constructed, taught and practiced as labour in three areas: ‘How-to’ screenwriting manuals, pedagogical locations for screenwriting in the UK and British screenwriters’ working lives. At each site, I focus on how craft and creativity are defined and experienced, how individual and collective forms of work are enacted at different locations and what implications these shifting designations have. Screenwriting within the mainstream Hollywood and British film industries in the contemporary moment demands particular and complex forms of worker subjectivity in order to distinguish it from other forms of filmmaking and writing, and to make the work knowable and do-able. I follow the voices of screenwriters and those who teach and instruct about screenwriting across the fieldwork sites and analyse the ways in which they calculate, navigate and make sense of the screen production labour market in which they are immersed. The theatrical, mythic and practical navigations of screenwriters in pedagogy and practice that are the centre of this thesis offer an antidote to impoverished, economistic readings of creativity, craft and creative labour in contemporary worlds of work.
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Gritten, Daniel John. "The profession and practice of screenwriting in British cinema, the 1920s and 1930s." Thesis, University of Bristol, 2007. http://hdl.handle.net/1983/19c45812-ac51-4daf-b5dc-a1a310b6475e.

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20

Millman, Eric B. "The Stars of David." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1987.

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The Stars of David is based on the true story of a woman whose love of baseball stood above all. Set in the midst of the Great Depression, Jackie Austin, disgusted by the chauvinistic expectations of her impoverished father, sets off on her own to play for whatever team that will have her. That team proves to be the barnstorming House of David Baseball Club, an ascetic religious commune struggling to regain past glory after a decade of tragedy and shame. Outsiders and freaks to the rest of the world, these new "Stars" of David must learn to work together on the field in order to prosper in life. Can they succeed in the staunchly traditional, largely racist world of Depression-era Major League Baseball? Or will they, too, be whitewashed by time?
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Ford, Paisley Summer. "Re::Humanity." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/honors_theses/88.

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Likomanova, Yvonne. "The Dock." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1406.

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Buice, Susan E. "Soulmate." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2664.

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Green, Daniel R., and Daniel Read Green. "Darkness." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2693.

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During the long, dark night of a volcanic winter, a young man clashes with his father over the fate of five desperate survivors who have arrived outside the gates of the family compound. Yet he soon discovers true darkness lies within.
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Adams, Allison. "Woman Standing." TopSCHOLAR®, 2017. https://digitalcommons.wku.edu/theses/2061.

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This is a feature-length screenplay following Farren Cane, a young woman living in a rural Appalachian town, as she struggles with the intersections of gender, class, and the tension between her own ambition and her familial obligation.
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Proudley, Craig William. "The way of the warrior: Realising the mythic warrior-hero in the action genre and in Australian cinema." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116768/9/Craig%20Proudley%20Exegesis.pdf.

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The Way of the Warrior, Realising the Mythic Warrior-hero in the Action genre and in Australian Cinema, is Creative Practice research that pursues detailed analysis of the warrior-hero in Australian and, action genre cinema narratives. Warrior-hero archetypes are employed in the original Australian feature screenplay Behold a Pale Horse in order to address whether it is possible to synthesise the Warrior-hero archetype with the tropes, codes and conventions of the Action genre in an Australian context and create an original screenplay with the potential for both critical and commercial success?
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Mathews, Phil. "It must be love : an exploration of the character arc model in screenwriting practice and theory." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31468/.

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This practice led research is a study into the contested screenwriting narrative form known as the ‘character arc’. The character arc is a term that refers to the motivational and emotional trajectory of a character through the totality of a given narrative. Through practice I developed an original cinematic screenplay It Must be Love, as a way of exploring the research questions and enabling me to critically reflect upon the creative development and writing process. The two areas that framed this practice led research were the character arc, and the romance genre. The study considers the development of various theories of the character arc before defining its form through methods of textual analysis, practice and critical reflection. The practice screenplay It Must be Love was developed as a romance. In consideration of this, the impact of genre will be referenced throughout the exegesis. This practice-led research arrived at a new definition of the character arc illustrating that it can operate across genres and is autonomous of other narrative forms. This research also found that characters may arc multiple times within a given narrative. These findings may be salient to screenwriting practitioners in developing or exploring their practice and widens the debate around this narrative form.
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Dauer, Cindy E. "Karmic Buyback: A Pilot Program." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2144.

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"Karmic Buyback: A Pilot Program", a screenplay, is the story of Oliver Harker, a water resources engineer in his early thirties, adrift in a world of lost social connections. Aside from this work, which he describes as "just a lot of redundant paperwork," his only connection to the outside world is his exuberant younger brother Van. With no father to speak of, and harboring long term resentment against his mother who ran away to Africa the day after Van's high school graduation, Oliver's defining tragic moment came three years earlier. It was then he discovered Eva, the woman he planned to marry, cheating with an old flame. Isolating himself from his few remaining friends, Oliver has become a short-tempered, unbearable grump. Meanwhile Eva, unbeknownst to Oliver, has recently died. She wakes to find herself in a strange, antiseptic afterlife where she is given the opportunity to repair some of the bad karma she accumulated in her short life, specifically in regard to Oliver. As Van begins to help him reestablish social ties, an accident which lands Oliver in the hospital finally draws their mother back across the Atlantic. Oliver must decide between Eva, in her foolish attempts to win him back as a result of the ultimately misguided Karmic Buyback Pilot Program, and the real people who love him.
M.A.
Department of English
Arts and Humanities
English MA
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29

McMillan, Bradley Ian. "Challenging the Safe Centre: An Exegesis to Support the Screenplay Shelf Life." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/368003.

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This exegesis examines the processes used to produce a body of studio work that investigates how screen-based narratives and aesthetics function in relation to, and are able to question, political and cultural hegemony. The final outcome of the studio work – a feature-length screenplay called Shelf Life – has at its thematic core a focus on neoliberal ideology and its cultural manifestations, an exploration of the social exclusion that is a by-product of that phenomenon, and an examination of the emancipatory potential of the cinema. It looks at how a work can engage with, yet also challenge, mainstream modes of storytelling to counter their potentially soporific effects, which may work to obscure deeper counter readings. The screenplay embodies a bricolage of influences in its final incarnation, as different strategies were developed to deal with the interaction between content, form and conflicting ideologies. A process of iterative writing shifted the work from its beginnings as a narrative exploration of theme to focus on the interplay between aesthetics and ideology, and the ways in which aesthetic choices can contribute to a spectator’s active reading of the work. It finally culminated in an extensive process of improvisational writing, which aimed to shift how the work was engaged with, away from an unquestioned a priori reading to a less stable liminal reading to allow for a more mindful viewing experience.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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30

Williams, Karen L. "Life After Man." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1658.

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This thesis comprises two parts: a creative component consisting of a first-draft script for a feature film, -followed by an exegesis. The intention with the creative component was to work within parameters that would hopefully be appealing to the local film-making industry. Thus, the script is for a low-budget feature that is set in Perth and makes use of a character-driven narrative, The exegesis comprises a theoretical analysis of the 'Life After Man' screenplay, placing it within the context of an examination of multiple protagonist film structure, with particular reference to the development of character.
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31

Daneau, Daniel. "THE ATTIC DOOR: A FEATURE LENGTH MOTION PICTURE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2224.

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THE ATTIC DOOR is the feature-length film co-written and directed by Danny Daneau while pursuing a Master of Fine Arts at the University of Central Florida. Many challenges had to be met to produce a feature-length motion picture utilizing digital technology on an ultra-low budget as part of a graduate education. Beyond gaining a profound understanding of the physical, financial, and emotional strength it takes to complete a feature-length motion picture, Daneau experienced the creative challenges that all filmmakers must meet when applying the principles of filmmaking theory to an actual work of self-expression. The production process for an original narrative film under the guidelines established by the university has pushed him to make a motion picture that is both a highly personal work of film art and evidence of the educational journey he has taken for the past three years.
M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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32

Amey, Justin. "Valentine Productions." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/4.

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33

Castrillo, Pablo Ignacio. "Angel Of War." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/9.

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34

Schmitter, Allison Marie. "Rise of the Elementals." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/11.

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35

Blanche, Justin. "Summons." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/130.

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36

Glennon, Christopher. "It's Just Pretend." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/126.

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37

Martin, Michael T. "Christian Crash Course." Digital Commons at Loyola Marymount University and Loyola Law School, 2010. https://digitalcommons.lmu.edu/etd/116.

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38

Castillo, Jenniffer. "Undocumented." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/74.

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39

Gordon, Derek, and David Rogoff. "Action Jacksons." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/72.

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40

Ortiz, Maria. "Brown Xmas." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/68.

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41

Sehk, Sallua. "Beautiful Monkey." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/67.

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42

Ulmer, Christopher. "Strike Price." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/66.

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43

Reid, Myles Hendry. "Sometimes the Wolf." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/46.

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44

Leveque, Holly N. "Final Curtain." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/45.

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Schlissel, Matthew Jay. "The Senator's Wife." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/161.

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46

Nigam, Rigvedita. "The Snoops." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/160.

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Henderson, Tasha Joi. "Blood Night." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/158.

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48

Thacker, Nicholas Jay. "Finders Keepers." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/157.

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Wellinger, Chad Edward. "Bad Romance." Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/156.

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50

Lancaster, Aaron A. "Yasuke: The Black Samurai." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/287.

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