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Author: Grafiati

Published: 10 March 2023

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1

Seger, Linda. From script to screen: The collaborative art of filmmaking. New York: H. Holt, 1994.

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2

Jay, Whetmore Edward, ed. From script to screen: The collaborative art of filmmaking. 2nd ed. Hollywood, CA: Lone Eagle, 2004.

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3

Horn, Erica Van. Scraps of an aborted collaboration. Docking, Norfolk: Coracle, 1994.

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4

Laru, Jari. Scaffolding learning activities with collaborative scripts and mobile devices. Oulu: University of Oulu, 2012.

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5

1963-, Stevens Matt, ed. Script partners: What makes film and TV writing teams work. Studio City, CA: Michael Wiese Productions, 2002.

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6

Lazarevic, Persida, and Sanja Roic, eds. Cronotopi slavi. Studi in onore di Marija Mitrović. Florence: Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-428-8.

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Cronotopi slavi raccoglie diversi saggi scritti in onore di Marija Mitrović da amici, colleghi e collaboratori delle Università di Trieste, Belgrado, Bloomington, Mainz, Torino, Chieti-Pescara, Udine, Zagabria, Fiume e Pola, che hanno condiviso e condividono con lei la passione per la slavistica e gli studi umanistici. Il volume comprende anche la bibliografia dei lavori dell’eminente studiosa dell’Università degli Studi di Trieste.

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7

Seger, Linda. Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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8

Seger, Linda. Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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9

Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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10

Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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11

Seger, Linda. Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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12

Raubicheck, Walter, and Walter Srebnick. From Treatment to Script. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036484.003.0003.

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This chapter looks at Hitchcock's involvement in creating the plot and text of his scripts. It studies the various drafts of the films under consideration, revealing three distinct objectives as Hitchcock monitors them: the removal of what he called “no scene” scenes; the addition of some strongly visual shots or the elaboration of a scene to provide increased insight into a character, usually without new dialogue; and the removal of dialogue that did not add anything substantial to characterization or merely indicated some idea that the camera had already conveyed. Between the first draft and the shooting script, the screenplay would often be rewritten substantially at least three times, as the collaboration between the director and his writers continued. At the same time, Hitchcock would begin his preproduction work, which would often influence later drafts of the script.

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13

Knopf, Robert. Script Analysis for Theatre. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781408183267.

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Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production provides theatre students and emerging theatre artists with the tools, skills and a shared language to analyze play scripts, communicate about them, and collaborate with others on stage productions. Based largely on concepts derived from Stanislavski’s system of acting and method acting, the book focuses on action - what characters do to each other in specific circumstances, times, and places - as the engine of every play. From this foundation, readers will learn to distinguish the big picture of a script, dissect and ’score’ smaller units and moment-to-moment action, and create individualized blueprints from which to collaborate on shaping the action in production from their perspectives as actors, directors, and designers. Script Analysis for Theatre offers a practical approach to script analysis for theatre production and is grounded in case studies of a range of the most studied plays, including Sophocles’ Oedipus the King, Shakespeare’s Twelfth Night, Henrik Ibsen’s Hedda Gabler, Georg Büchner’s Woyzeck, Oscar Wilde’s The Importance of Being Earnest, Tennessee Williams’s A Streetcar Named Desire, and Paula Vogel’s How I Learned to Drive, among others. Readers will develop the real-life skills professional theatre artists use to design, rehearse, and produce plays.

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14

Stevens, Matt, and Claudia Johnson. Script Partners: What Makes Film and TV Writing Teams Work. Michael Wiese Productions, 2003.

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15

Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production. Bloomsbury Publishing Plc, 2017.

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16

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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17

Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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18

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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19

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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20

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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21

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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22

Raubicheck, Walter, and Walter Srebnick. Final Drafts. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036484.003.0004.

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This chapter examines the characters and themes of the shooting scripts rather than of the three films themselves. It considers whether or not the screenwriters had written for Hitchcock in ways that suited his own particular visual style. These scripts represent the fullest extent of the collaborative process that began when the writer first sat with the director in his office to discuss the possibilities for narrative and character development inherent in the source material; they also highlight the particular verbal talents of the writers, talents that Hitchcock himself did not possess; and they demonstrate how the characters existed in Hitchcock's mind before the actors began to mold them to their own styles and personalities.

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23

Baird, Alan C., and Aniko J. Bartos. 9TimeZones.com - an eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris Corporation, 1999.

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24

9TimeZones.com: An eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris, 1999.

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25

9TimeZones.com: An eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris, 1999.

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26

Baird, Alan C., and Aniko J. Bartos. 9TimeZones.com - an eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris Corporation, 1999.

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27

Li Lan, Yong. Translating Performance. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.37.

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This chapter reflects on the doubleness of translation as the condition of existence of Asian performances of Shakespeare. It begins with the experience of hearing echoes of the original English lines when listening to Shakespeare’s texts translated into a language one does not speak. To address the interculturality of reception of Asian Shakespeare performances, the Asian Shakespeare Intercultural Archive (A|S|I|A, http://a-s-i-a-web.org), a collaborative project by scholars, translators, and practitioners, developed an approach to archiving production videos, scripts, and data in four parallel languages: English, Chinese, Japanese and Korean. The chapter examines the A|S|I|A archival process in relation to the position of the English scripts in multidirectional translations, and to the detailed data created by the project team. It concludes by positing comparative research into the use of the ‘traditional’ by tracing the varying occurrences of the term in the data.

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28

Singleton, Brian. Irish Theatre Devised. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.36.

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Since the early 1980s, a considerable debate has grown up around the centrality of the written script in Irish theatre. While the major artist in many other European theatre cultures was the director or the scenographer, Irish theatre remained dominated by the writer. However, with an expansion in the number of theatre companies, an increasingly globalized culture, and new forms of Irish actor training, companies began to emerge whose work did not begin with a playwright. In some companies, such as Corn Exchange, work is devised with the collaboration of writer, director, and the ensemble. In other cases, companies such as Pan Pan have used classic texts as the basis for director-driven post-dramatic works, while other companies such as ANU have moved further into forms of devised work. By the end of the first decade of the twenty-first century, the writer was no longer necessarily the key figure in Irish theatre .

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29

Turn That Thing Off!: Collaboration and Technology in 21st-Century Actor Training. Taylor & Francis Group, 2018.

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30

Bonczek, Rose Burnett, Roger Manix, and David Storck. Turn That Thing Off!: Collaboration and Technology in 21st-Century Actor Training. Taylor & Francis Group, 2018.

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31

Turn That Thing Off!: Collaboration and Technology in 21st-Century Actor Training. Taylor & Francis Group, 2018.

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32

Davis, Jim. Writing for Actors. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0013.

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Dibdin’s younger son Thomas’ work as a dramatist reveals both change and continuity in expectations of dramatic authorship and theatrical practice in the early nineteenth century. This chapter explores the collaborative nature of Dibdin’s writing: his scripts were not finished literary texts, but raw materials designed to be fully realized only in performance, as celebrated actors brought their own contributions to their roles. While the results were immensely popular with audiences, these methods came under increasing fire from critics such as Leigh Hunt, who damned Dibdin for failing to live up to their new, literary expectations of dramatic authorship and the sovereignty of the author’s text. The gathering forces of specialization and the privileging of the author as twin hallmarks of legitimate cultural authority were beginning to create new hierarchies of theatrical production, genres, and styles, highlighting the contrasts between the era of Charles Dibdin the Elder and that of his sons.

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33

Porter, Eric. Improvising the Future in Post-Katrina New Orleans. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.16.

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This chapter examines how New Orleanians in the post-Katrina era have drawn upon African American–rooted parade traditions, especially the practice of second lining, to respond to what some have called the biopolitical order in New Orleans, particularly those aspects of it related to state and criminal violence. Some parades have been organized by long-established social aid and pleasure clubs and other traditional African American networks; some are the product of emergent cultural and political formations. Such acts may be viewed as improvised responses to a biopolitical order that is itself both scripted and improvisational. Although the cultural politics of such acts are often contradictory, this essay contends that they often open up important political space for collaboration and reflection on key social justice issues that are defining New Orleans in the post-Katrina era.

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34

Bonczek, Rose Burnett, Roger Manix, and David Storck. Turn That Thing Off! Routledge, 2018.

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35

Arbib, Michael A. When Brains Meet Buildings. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780190060954.001.0001.

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Understanding our brains can enrich our understanding of the ways we act and interact in a complex world, and how our experience of the built environment helps shape who we are and yet can be shaped by us in turn. This book presents action-oriented perception, memory, and imagination as keys to unlocking the neuroscience of the experience and design of architecture, and explores what it might mean for buildings to have “brains.” It offers a conversation addressed not only to architects and scientists but also to all who share a fascination with the brains within them and the buildings around them. Analysis of famous buildings and of homely examples introduces concepts like aesthetics, affordances, atmosphere, construction, manual action, scripts, and wayfinding, and the search for their neural substrates. It explores how evolution shaped a language-ready brain that is also architecture-ready. Case studies of the Guggenheim Museum Bilbao and the Sydney Opera House introduce an account of how the brains and minds of architects operate, pursuing the idea that memory and imagination are interacting forms of mental construction, but that architectural design must eventually reach a form that can guide the physical construction of buildings. All these concerns set new challenges for collaboration between architects and neuroscientists, and for further research on the brains of humans and animals.

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36

Crossley, Mark, and James Yarker. Devising Theatre with Stan’s Cafe. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474267083.

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Since it was founded in 1991, British theatre company Stan’s Cafe has garnered an international reputation for artistic innovation, and prolific, eclectic performance projects. Their work has toured nationally and internationally, with 2003's Of All The People In All The World having been performed in over fifty cities around the world. Embracing site-specific, immersive, durational, non-text-based as well as scripted work, Stan's Cafe's portfolio defies simple categorization. Running through all their work however is a collaborative devising process that champions a playful experimentation with form. Devising Theatre with Stan’s Cafe reveals and reflects on their theatre-making process, providing an illuminating and accessible account of their work and the approaches, techniques and philosophies which underpin and inspire it. Co-authored by artistic director James Yarker and Dr Mark Crossley, the book is places their work within wider context of contemporary theatre and is the perfect companion to anyone looking to make their own original theatre or performance work. For theatre students, fans and theatre-makers, Devising Theatre with Stan’s Cafe is an inspiring account and practical guide to contemporary performance practice

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