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Journal articles on the topic 'Screenwriting'

To see the other types of publications on this topic, follow the link: Screenwriting.

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Cattrysse, Patrick. "Screenwriting: Between Art and Craft." Palabra Clave 24, no. 2 (May 24, 2021): 1–11. http://dx.doi.org/10.5294/pacla.2021.24.2.5.

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This paper discusses the teaching of screenwriting and storytelling in terms of art and craft. It argues that since Romanticism established itself in the 19th century as the dominant Western view on art and culture, it has driven a wedge between people’s notions of art and craft, promoting the former and demoting the latter. This rift has impeded the teaching of screenwriting and storytelling in general. Following this, art historians and sociologists of art have suggested developing a “third system of art,” one that reintegrates the artist and the artisan, the art and craft-based values. This essay develops the basic tenets of a “technical approach” to the teaching of screenwriting. This technical approach sits in-between a Romantically biased “free-wheeling” approach and a mechanistic, “rule-based” approach. It is argued that a technical approach to screenwriting or storytelling could help materialize such a “third system of art” and benefit the practice, teaching, and study of screenwriting and storytelling.

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12

Macdonald, Ian W. "Meeting old friends for the first time: A personal reflection on the development of the Screenwriting Research Network." Journal of Screenwriting 12, no. 2 (June 1, 2021): 203–26. http://dx.doi.org/10.1386/josc_00060_1.

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13

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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14

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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15

Clayton, Sue. "Mythic Structure in Screenwriting." New Writing 4, no. 3 (November 12, 2007): 208–23. http://dx.doi.org/10.2167/new571.0.

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16

Norden, Barbara. "Screenwriting for Requirements Engineers." IEEE Software 24, no. 4 (July 2007): 26–27. http://dx.doi.org/10.1109/ms.2007.117.

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17

Price, Steven. "Rethinking Screenwriting Conference, Helsinki." Journal of Screenwriting 1, no. 2 (May 1, 2010): 385–87. http://dx.doi.org/10.1386/josc.1.2.385/7.

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18

David, Ian. "Screenwriting and emotional rhythm." Journal of Screenwriting 5, no. 1 (March 1, 2014): 47–57. http://dx.doi.org/10.1386/josc.5.1.47_1.

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19

Somerville, Kristine. "Review: Screenwriting: A Manual." Media International Australia 96, no. 1 (August 2000): 184–85. http://dx.doi.org/10.1177/1329878x0009600123.

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20

Batty, Craig. "Editorial." Journal of Screenwriting 14, no. 1 (April 13, 2023): 3–5. http://dx.doi.org/10.1386/josc_00111_2.

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This editorial introduces the 14.1 issue of the Journal of Screenwriting. It provides an overview of the articles in the issue and makes reference to the 2022 Screenwriting Research Network (SRN) conference held at the University of Vienna, which was the first face-to-face conference of the SRN in three years.

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21

Maras, Steven. "Screenwriting research in Australia: A truncated (pre)history." Journal of Screenwriting 12, no. 2 (June 1, 2021): 179–202. http://dx.doi.org/10.1386/josc_00059_1.

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Recent years have seen a growing interest in the history of fields of study and academic disciplines. While recognizing a number of limitations, this article explores the emergence of screenwriting research in Australia. It addresses the question of what were the cultural conditions that gave rise to contemporary screenwriting research in Australia. The article discusses three key factors: firstly, long-standing policy settings around cultural identity and content in film and television; secondly, active debates around ‘screen culture’ that have given discussions of the place of culture and story special prominence and contributed to awareness of questions of cultural ‘value’, and conventional separations of production and consumption; thirdly, the rise of film studies in the 1970s, which gave ferment to research into narrative and story forms. My goal is to capture some of the contextual features that are important to an understanding of screenwriting research in this period and geography, and to suggest that screenwriting research emerged as intellectual attitude and area of interest that eventually crystallized as part of a more formalized arena of study in the later 2000s.

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22

Giarrusso, Vincent. "Re-imagining multiculturalism and diversity through screenwriting and filmmaking." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 160–67. http://dx.doi.org/10.33178/alpha.24.11.

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This paper explores pedagogic methods used in the research project “Zooming In: Multiculturalism Through the Lens of the Next Generation”. The project is a reimagining of multiculturalism and diversity through filmmaking and sociology. An important component of this research are the films produced in association with the Victorian Multicultural Commission (VMC), which contribute to a narrative of inclusion and diversity. The process of screenwriting and development, then filmmaking, is conditional around individual agency and the mediation of practice in the generation of the screen idea (Millard, Screenwriting). Researchers such as Craig Batty, Susan Kerrigan, Ian W. McDonald and Kathryn Millard direct research attention to the practices of screenwriting as matrixes that offer a structure or logic to the screen idea. The outcome of screenwriting practice requires a pedagogic and andragogic design that recognises and engages with complex functions and meanings. The paper approaches writing for the screen as a set of interconnected regularised activities, examining the dynamic interplay between the subjective experience of the practitioner and the rules and expectations of the institutions involved.

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23

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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24

Greenwood, Nell, and Robyn Gibson. "Creativity and the unconscious in the screenwriting classroom: A review of the literature." Journal of Screenwriting 11, no. 2 (June 1, 2020): 139–56. http://dx.doi.org/10.1386/josc_00022_1.

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Screenwriting pedagogy is a small but growing field of scholarly enquiry grappling with the challenges of a writing mode that demands a high level of creativity in order to render complex human experiences in a visual form bound by industrialized structures. Prominent screenwriters argue that engagement with unconscious thought is critical to achieving the high level of creativity required for this kind of writing. However, the unconscious remains a neglected area of enquiry in the fields of creativity and screenwriting research. This review of literature corrals existing research in both fields to synthesize insights for screenwriting and creative writing teachers on the engagement of unconscious thought as a means to enhance students’ creativity.

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25

Rossholm, Anna Sofia. "Screenwriting, authorship and gender in Swedish cinema of the 1940s: Dagmar Edqvist’s ‘The Ingegerd Bremssen case’." Journal of Scandinavian Cinema 12, no. 2 (June 1, 2022): 179–86. http://dx.doi.org/10.1386/jsca_00074_1.

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Through a case study analysis, this article suggests that women’s screenwriting in Sweden in the 1940s elucidates important aspects of cinematic authorship in relation to cultural hierarchies and gender. The analysis consists of a contextualized reading of the 1942 film Fallet Ingegerd Bremssen (‘The Ingegerd Bremssen case’), based on Dagmar Edqvist’s psychological novel about a rape and its after-effects, with a screenplay written by the author herself. A textual adaptation analysis – focusing on the screenwriting style and how the woman’s perspective and experience in the novel is transformed in the adaptation – is contextualized against the historical backdrop of the changes in screenwriting practices during this period as well as of the critical reception of the film.

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26

Arellano, Jerónimo. "Gabriel García Márquez’s Scriptwriting Workshop: Screenwriting pedagogy and collective screenwriting in Latin America." Journal of Screenwriting 7, no. 2 (June 1, 2016): 191–205. http://dx.doi.org/10.1386/josc.7.2.191_1.

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27

Ianniello, Marco, and Craig Batty. "Serial offenders? Defining the boundaries of series and serial TV for screenwriting practice and theory." Journal of Screenwriting 12, no. 1 (March 1, 2021): 55–74. http://dx.doi.org/10.1386/josc_00048_1.

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Serial storytelling dominates the international TV landscape, yet the terms used to describe this form as distinct from ‘series’ vary across industry, scholarship and popular media. While many scholars have observed the series/serial ‘divide’, none of them have done so from the vantage point of screenwriting practice. This article argues there is both the scope and a need to provide clearer definitions for discussion of TV drama screenwriting, particularly as it intersects with extant notions such as ‘complex’ and ‘quality’ TV. In this article, we consolidate the literature on the series/serial and provide our own terms to describe contemporary trends in serial storytelling – finite, infinite and franchise – terms that we hope speak more directly to the screenwriter and screenwriting scholar.

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28

Bentham, Michael. "The biopic screenplay as a research output: Towards a working definition of narrative fiction filmmaking methodology." Journal of Screenwriting 13, no. 2 (July 1, 2022): 187–206. http://dx.doi.org/10.1386/josc_00093_1.

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Can the writing of a screenplay or the making of a narrative fiction film be considered a form of academic research? This will be a familiar question for those professional filmmakers entering the academy. To answer this question, scholars of screenwriting and screen production face the difficulty of articulating their creative practice as research within the broader institutional research cultures of the academy. This article seeks to overcome this difficulty by reflecting on the methods employed in the process of screenwriting a biopic about British boxer Randolph Turpin. To demonstrate how screenwriting and screen production practice generates and disseminates new knowledge, I offer a working definition of narrative fiction filmmaking as methodology, where mise en scène is shown to operate as a core reflective strategy.

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29

Alves, Pedro, Jose Luis Rubio-Tamayo, and Estefany DurAn-Fonseca. "Investigating a cinematic virtual reality narrative framework for screenwriting." Journal of Screenwriting 14, no. 3 (December 1, 2023): 311–33. http://dx.doi.org/10.1386/josc_00136_1.

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Over the last decade cinematic virtual reality (CVR) has been progressively developing as a meaningful vehicle for impactful and immersive narratives. Recent studies of CVR concepts and components have laid the ground for a CVR narrative theoretical framework that might assist researchers and practitioners to understand this type of virtual reality (VR) experience. While existing studies have isolated key features of CVR, a range of projects from different fields of work or in different stages of production have utilized a range of different screenwriting processes and strategies to address the affordances of this medium. In this article we seek to systematize the key findings of earlier studies into a narrative framework for CVR and to analyse how this framework is reflected in existent models and templates for writing a screenplay for CVR experiences. Furthermore, and based on this narrative framework, we also aim to contribute an exploratory approach to CVR screenwriting by proposing a variative and original screenwriting template. This template addresses the main limitations of the existent screenwriting templates and formats that we analyse in this study while also summoning the main advantages.

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30

Redvall, Eva N., and John R. Cook. "Television screenwriting – continuity and change." Journal of Screenwriting 6, no. 2 (June 1, 2015): 131–36. http://dx.doi.org/10.1386/josc.6.2.131_2.

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31

Reyes, María Cecilia. "From Screenwriting to Space-Writing." Disegno 6, no. 1 (2022): 86–103. http://dx.doi.org/10.21096/disegno_2022_1mcr.

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In the past ten years, audiovisual creators have been working on the development of narrative experiences for extended reality (XR) technologies, especially virtual reality (VR). The evolution of this practice has led to the creation of a technical language and processes. The transfer of knowledge from cinematography and videography has been the basis for the creative practice of “immersive narratives,” very often carrying with it jargon and practices that do not fit entirely with XR’s spatial nature. In this essay, I ref lect on whether we are still writing for a screen or writing for space from a practitioner’s perspective. Such a change of perspective starts with the recognition of the perceptual sphere and how to compose scenes in it. In this regard, a review of storyboarding for VR, followed by my own experience in creating an interactive VR movie, allowed me to ref lect on the concept of framing, camera positions, and authorial intentions. Finally, I argue that we can move from screenwriting to space-writing in relation to the technologies and immersive power of XR.

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32

Sohail, Ahmer, and Prof Dr Farish Ullah. "The Art and Craft of Screenwriting: Practice and Prospects of Screenwriting in Pakistani Film." Journal of Peace, Development & Communication me 05, issue 2 (June 30, 2021): 230–40. http://dx.doi.org/10.36968/jpdc-v05-i02-21.

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Pakistani feature films are on decline for last three decades. In filmmaking, screenplay plays the pivotal part, without which the idea of making film is absurd indeed. The academic learning of art and craft of screenwriting has actually been taken for granted in Pakistan. This overlooking serves one of the reasons owing to which Pakistani Cinema could not get along with its contemporaries. This qualitative study throws light on the significance of screenplay in the whole process of filmmaking and nudges to the pedagogical needs of screenplay writing to be met in Pakistan. For the purpose, in-depth interviews of academician and practitioners of film and communication studies in Lahore have been conducted by the researcher.

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33

Cattrysse, Patrick. "Teaching Screenwriting as Translation and Adaptation: Critical Reflections on Definitions and Romanticism 2.0." Journalism and Media 3, no. 4 (December 16, 2022): 794–811. http://dx.doi.org/10.3390/journalmedia3040053.

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This essay discusses teaching screenwriting in terms of translation and adaptation. Realigning terminology with everyday language, translation is redefined as an invariance-based phenomenon while adaptation is reconceived as a variance-based phenomenon, which entails better fit. More specific working definitions follow specifying what one could be teaching or learning in more precise terms. The acceptance of these proposals remains a matter of contention. One major obstacle involves the current Western Romantic view on art and culture. Having driven a rift between art and craft, Romanticism 2.0 opposes the aforesaid working definitions and disparages screenwriting, translation, and adaptation, lest they comply with the Romantic rule. Suggestions follow to re-open the Romantic view to its pre-Romantic stance and to revalue both art and craft values in screenwriting, translation, and adaptation. Finally, conclusions highlight some caveats foreshadowing resistance also against nudging back Romanticism 2.0 to its pre-Romantic views.

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34

Reinola, Kirsi. "Emotional Transportation and Identification in Screenwriting: A Pilot Study." Baltic Screen Media Review 11, no. 1 (December 1, 2023): 68–83. http://dx.doi.org/10.2478/bsmr-2023-0005.

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Abstract Within the academic domain focused on the artistic practice of screenwriting, this exploratory study assesses the presence of emotional transportation and character identification processes within the solitary screenwriter’s creative imagination during the writing process. Screen-writing research is facing a dichotomy of the screenwriter who embodies both the role of a narrative specialist and that of a visual storytelling poet. Screenwriters often work in isolation, even in collaborative projects, leading to a tension between solitary work and collaborative roles. Narrative theories in screenwriting have mainly centered on identification of the audience, neglecting the screenwriter’s perspective. However, screenwriting can serve as a platform for experimentation and a reflection of new ideas, insights, and hands-on experience, meeting the demand for a systematic understanding of the writer’s processes. The results of this study provide preliminary insights into the mechanisms of emotional transportation, identification, and eureka moments in screenwriting practice. The study suggests that the transportation effect in writers is induced by a feeling of security, which arises from the limitations of the assignment. The data also suggests that pressure can lead to more original dramaturgical solutions. As such, this experimental pilot study already sheds light on the screenwriter’s artistic process. Yet, it has limitations, including a small number of informants and the novelty of the research method.

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35

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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36

Danielpour, Debbie. "Imitation and adaptation: A screenwriting pedagogy." Journal of Screenwriting 3, no. 1 (August 3, 2011): 103–18. http://dx.doi.org/10.1386/josc.3.1.103_1.

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37

Roblin, Isabelle, and Shannon Wells-Lassagne. "Screenwriting, adaptation and the screen idea." Journal of Screenwriting 7, no. 1 (March 1, 2016): 5–9. http://dx.doi.org/10.1386/josc.7.1.5_2.

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38

Ferrell, Rose. "An introduction to voice in screenwriting." Journal of Screenwriting 8, no. 2 (June 1, 2017): 161–75. http://dx.doi.org/10.1386/josc.8.2.161_1.

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39

Seja, Nina. "Review: Screenwriting: History, Theory, and Practice." Media International Australia 136, no. 1 (August 2010): 204–5. http://dx.doi.org/10.1177/1329878x1013600133.

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40

Sengupta, Rakesh. "Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies." BioScope: South Asian Screen Studies 9, no. 2 (December 2018): 117–36. http://dx.doi.org/10.1177/0974927618813480.

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This article is an attempt to rethink the intermedial practice and discourse of screenwriting during the first Indian talkies through a study of the margins of print, theatre and film history. I engage with the unfortunate archival absence of film scripts from the early years as a heuristic rather than a handicap, employing intermediality both as an archaeological and a conceptual tool in reconstituting screenwriting as a converged media practice. I argue that the widespread circulation of screenwriting manuals for amateurs constituted a pedagogical infrastructure separate from, but parallel to, the other infrastructural flow of ideas and professionals from the Parsi theatre into the film industry. The autobiographical accounts of some of the first playwright-turned-screenwriters bear testimony to the spaces they negotiated for themselves in the talkies after a successful stint with the Parsi stage. These memoirs form an interesting counterpoint to the testimonies of another group of screenwriters from the Indian Cinematograph Committee evidences (1927–1928) in which these writers express great apathy towards the practice in the Indian studios and declare their freelancing associations with Hollywood studios which solicited story ideas from viewers worldwide.

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Taylor, Stayci. "Battle of the sketches: Short form and feminism in the comedy mode." Journal of Screenwriting 11, no. 3 (September 1, 2020): 363–77. http://dx.doi.org/10.1386/josc_00039_1.

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The screenwriting of sketch comedy and, in particular, how female writers of sketch comedy engage with this form to illuminate female experience, are topics not yet widely theorized. This article reviews the scholarship, in order to bring together histories, definitions and distribution of sketch comedy from which to investigate how this form of comedy screenwriting can contribute to feminisms that ‘engage openly and playfully with humor and irony as weapons of choice’ (Willet et al. 2012). Drawing on anecdotal accounts and available archives from A Black Lady Sketch Show (2019–present), French and Saunders (1987–present), Inside Amy Schumer (2013–present), Wood & Walters (1981–82) and others, this article considers these against the theories of writing sketch comedy to draw some conclusions on how this short form, combined with its most popular form of distribution, can accommodate multiple perspectives and serve their audiences. This article offers itself as a starting point in identifying the unique challenges and strategies for women writing sketch comedy, and the possibilities offered by the form more broadly, while highlighting the need for further empirical exploration of the creative practice of female sketch comedy writers, and further critical attention to short form comedy screenwriting.

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Sengupta, Rakesh. "Towards a Decolonial Media Archaeology: The Absent Archive of Screenwriting History and the Obsolete Munshi." Theory, Culture & Society 38, no. 1 (July 6, 2020): 3–26. http://dx.doi.org/10.1177/0263276420930276.

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Much has been written about how Foucault's archaeology of the modern episteme, emerging from early 19th-century Europe, was curiously divorced from its context of colonialism. Media archaeology, as Foucault's legacy, has also remained rather geopolitically insular and race agnostic in its epistemological reverse engineering of media modernity. Using screenwriting history as a case study, this article demonstrates how bringing decolonial thinking and media archaeology together can challenge linear narratives of modernity/coloniality in media history. The article connects two seemingly disparate histories of archival absence and human obsolescence to reveal the construction of an elusive screenwriting modernity that has historically obscured parallel scripting practices and pre-existing scribal traditions.

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Ksenofontova, Alexandra. "Sergei Eisenstein's "The Form of the Script": A New Translation." Film History: An International Journal 34, no. 4 (2022): 109–25. http://dx.doi.org/10.2979/fih.2022.a900044.

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ABSTRACT: This paper analyzes Sergei Eisenstein's essay "The Form of the Script" (1929), focusing particularly on its publication and translation history. It reconstructs the missing parts and the logic of the essay based on its original Russian print and an early German translation. In so doing, the paper clarifies Eisenstein's position in the debates surrounding the various forms and formats of screenwriting. It additionally draws attention to the role of rhythm in Eisenstein's screenwriting theory and in his essayistic writing. Finally, this article offers a new translation of "The Form of the Script," which brings the essay as close as possible to its original publication.

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Wilson, Gavin. "Negotiating autobiographical truth: Embodying sensation in the narrative screenplay." Journal of Screenwriting 11, no. 1 (March 1, 2020): 99–113. http://dx.doi.org/10.1386/josc_00015_1.

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This article examines how screenwriting adaptations of written material speak of levels of truth-telling within various autobiographical texts. These include literary adaptations by Marguerite Duras: Hiroshima Mon Amour (1959) and The North China Lover (1992), and the autobiographical filmmaking of Maya Deren: Meshes of the Afternoon (1946) and The Very Eye of Night (1958). I argue that descriptions of tactile sensation necessarily remain codified in screenplays, their connotations left hanging even when the filmmaking process often falls short of depicting final truth. What remains is an unresolved problematic perception standing in for an experience. Our own experience of cinema can invariably be one wherein neither words nor images appear, or reappear, as to how they felt for the screenwriter. Is this a wholly negative situation, or merely the continuation of mediation, remediation and the contingent transposition of one medium into another? Drawing on examples from the screenwriting and/or filmmaking of Duras and Deren, I discuss why the screenwriter always writes in personal terms (because the personal is inescapable), and that this is a personal experience of imagination through the writing. Moreover, I test the idea that screenwriting only emerges in a form that we can recognize as truth, through its depictions of tactility and its representations of sensation.

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Nash, Yousif. "Ethics in Screenwriting: New Perspectives, Steven Maras (2016)." Journal of Screenwriting 11, no. 2 (June 1, 2020): 227–29. http://dx.doi.org/10.1386/josc_00029_5.

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Lewis, Warren. "Great Adaptations: Screenwriting and Global Storytelling, Alexis Krasilovsky (2018)." Journal of Screenwriting 11, no. 1 (March 1, 2020): 129–30. http://dx.doi.org/10.1386/josc_00020_5.

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Batova, Maria Andreevna. "Suggestive techniques of screenwriting: taboo and unpredictability." Человек и культура, no. 1 (January 2020): 123–31. http://dx.doi.org/10.25136/2409-8744.2020.1.31706.

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The subject of this research is the suggestive techniques of screenwriting on various level of perception of the movie, which engage the audience into cinematographic scene. The majority of movies reproduce the topic of social taboo, pulling upon the forbidden desires, and thus, instigating the audience. Such movies intend to distort the socially accepted moral and ethical restrictions, blurring the boundaries of the generally accepted standard. Alongside the violation of social taboo, one of the most important elements of drawing attention of the audience is unpredictability, used in dramaturgy to create an effect of incompleteness of story and the desire to reveal it. The research is based on the analytical and comparative methods, which allow analyzing particular effects intended by the author at the conceptual and dramaturgical level of the screen work. As a suggestive dramaturgical element, unpredictability can be reflected as a deferred event or a unpredictability  that forms the screen image and character of the hero. Analysis is conducted on the movies “The Return” (2003), “Loveless” (2017) directed by Andrey Zvyagintsev; “Fight Club” (1999) directed by David Fincher; “The Departed” (2006) directed by Martin Scorsese; “Melancholia” (2011) directed by Lars von Trier. The research result consists in characterization of the modern trend of preserving unpredictability within a narrative structure of the movie to maintain non-triviality of the storyline.

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Shaerf, David. "Screenwriters and Screenwriting: Putting Practice into Context." New Writing 12, no. 2 (May 4, 2015): 260–62. http://dx.doi.org/10.1080/14790726.2015.1039780.

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Nannicelli, Ted. "The early screenwriting practice of Ernest Lehman." Journal of Screenwriting 1, no. 2 (May 1, 2010): 237–53. http://dx.doi.org/10.1386/josc.1.2.237/1.

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Maras, Steven. "Some attitudes and trajectories in screenwriting research." Journal of Screenwriting 2, no. 2 (March 15, 2011): 275–86. http://dx.doi.org/10.1386/josc.2.2.275_7.

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