Gotowa bibliografia na temat „Motion picture authorship”

In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly questioned in those conversations due to the mechanical nature of the motion picture camera. This article mainly focuses on the discussions in the journal Eiga Gijutsu (Film Technology) in 1941–1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema.

The purpose of the article is to define the director's toolkit of frame design in the visual culture of the author's film. A comprehensive approach was used in the development of the topic, methods of systematization, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were directed to the consideration of the art history aspect of the problem. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. It has been found that the researchers are inclined to the opinion that the directors of author's films carry out experiments in the field of pictorial form. The relationship and mutual influence of photographic and audiovisual art is considered. It was found that images in screen arts are the result of collective work and have collective authorship. The features of the visual culture of the author's film are traced on the example of the films of Yuriy Illenko. It has been proven that the visual culture of an author's film directly depends on the worldview of the director. The characteristic features of an author's film are identified, the dominance of the attention of the directors-authors to the artists' specific view of the world, the creation of their own subjective picture of the world, the search for their own visual language, and the presentation of the author's screen form is substantiated. The visual culture of the author's film is analyzed and it is shown that the image, frame design is the main carrier of cinematic expressiveness. It is clarified that the system of expressive means and methods of visual culture of the author's film consists of: compositional construction of the shot; dynamics of motion of the film camera; filming angles; assembly steps; sound, light, color solutions; subject-material environment of the frame; mise-en-scеne; frame design. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and became the subject of a special study for the first time; the appropriateness of using the system method in studying the features of the author's plastic film language has been proven; a comprehensive analysis was carried out and the features of frame design in the author's film work were revealed.

Abstract The paper presents a mini survey of the hallmark English language motion pictures which are explicitly based on William Shakespeare’s Romeo and Juliet. The selection of the six films under investigation takes into account various criteria such as aspects of chronology, culture, impact or novelty of approach. The analysis is based on four categories: genre, auteurism (authorship), reception and verisimilitude.

Canvassing a variety of types of value, this article seeks to identify the promise of moving images for fields such as medical humanities, health humanities, critical public health studies and health and culture. The use of moving images for the intended purpose of effecting health outcomes is given priority, the emphasis being on immediate instrumental value. The value in question is seen as offering a neglected reason for claiming public value for moving images. Suggestive examples of interventions relating to authorship, genre, curatorial principles, the dynamics of reception and screens and exhibition spaces are provided, the overall aim being to evoke and clarify the promise that motion pictures hold for human thriving.

Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only semantically anachronistic but, as will be shown, is an anachronistic problem. The history that it carries, through almost three hundred years, underscores the difficulties at the heart of copyright in the contemporary scene. Indeed the reliance on copyright in these debates creates an argument based on circular definitions relating to only the statutory conception of cultural rights. No avenue is really left to imagine a space outside its jurisdiction. This paper asserts that notions of the “culture industry” (as opposed to some other conception of culture) are also inherently connected to the some three hundred years of copyright legislation. Our conceptions of the author and of intellectual pursuits as property can also be traced within this relatively small period. As clarified by Lord Chief Baron Pollock in the English courts in 1854, “copyright is altogether an artificial right” that does not apply at common law and relies wholly on statute (Jeffreys v Boosey). Foucault (124-42) highlights, in his attack on Romantic notions of the author-genius-God, that the author-function is expressed primarily as a legal term, through the legal concepts of censorship and copyright. Copyright, then, pays little attention to non-economic interests of the author and is used primarily to further economic interests. The corporate nature of the culture industry at present amounts to the successful application of copyright legislation in the past. This paper suggests that we look at our conception of literary and artistic work as separate from copyright’s own definitions of intellectual property and the commercialisation of culture. From Hogarth to File-Sharing The case of ‘DVD Jon’ is instructive. In 1999, Jon Lech Johansen, a Norwegian programmer, drew the ire of Hollywood by breaking the encryption code for DVDs (in a program called DeCSS). More recently, he has devised a program to circumvent the anti-piracy system for Apple’s iTunes music download service. With this program, called PyMusique, users still have to pay for the songs, but once these are paid for, users can use the songs on all operating systems and with no limits on copying, transfers or burning. Johansen, who publishes his wares on his blog entitled So Sue Me, was in fact sued in 1999 by the Motion Picture Association of America (MPAA) for copyright infringement. He argued that he created DeCSS as part of developing a DVD player for his Linux operating system, and that copying DVD movies was an ancillary function of the program for which he could not be held responsible. He was acquitted by an Oslo district court in early 2003 and again by an appeals court later that year. During this time many people on the internet found novel ways to publish the DeCSS code so as to avoid prosecution, including many different code encryptions incorporated into jpeg images (including the trademarked DVD logo, owned by DVD LLC) and mpeg movies, as an online MUD game scenario, and even produced in the form of a haiku (“42 Ways to Distribute DeCSS”). The ability to publish the code in a format not readily prosecutable owes less to encryption and clandestine messages than it does to anachronistic laws regarding the wholly legal right to original formats. Prior to 1709, copyright or licensing related to the book publishing industry where the work as formatted, pressed and disseminated was more important to protect than the text itself or the concept of the author as the writer of the text. Even today different copyrights may be held over the different formatting of the same text. The ability for hackers to attack the copyright legislation through its inherent anachronism is more than smart lawyering or a neat joke. These attacks, based on file sharing and the morphing fluid forms of information (rather than contained text, printed, broadcast, or expressed through form in general), amount to a real breach in copyright’s capability to administer and protect information. That the corporations are so excited and scared of these new technologies of dissemination should come as no surprise. It should also not be seen, as some commentators wish to, as a completely new approach to the dissemination of culture. If copyright was originally intended to protect the rights of the publisher, the passing of the Act of Anne in 1709 introduced two new concepts – an author being the owner of copyright, and the principle of a fixed term of protection for published works. In 1734, William Hogarth, wanting to ensure profits would flow from his widely disseminated prints (which attracted many pirate copies), fought to have these protections extended to visual works. What is notable about all this is that in 1734 the concept of copyright both in literary and artistic works applied only to published or reproduced works. It would be over one hundred years later, in the Romantic period, that a broader protection to all artworks would be available (for example, paintings, sculpture, etc). Born primarily out of guild systems, the socio-political aspect of protection, although with a passing nod to the author, was primarily a commercial concern. These days the statute has muddied its primary purpose; commercial interest is conflated and confused with the moral rights of the author (which, it might be added, although first asserted in the International Berne Convention of 1886 were only ratified in Australia in December 2000). For instance, in a case such as Sony Entertainment (Australia) Ltd v Smith (2005), both parties in fact want the protection of copyright. On one day the DJ in question (Pee Wee Ferris) might be advertising himself through his DJ name as an appropriative, sampling artist-author, while at the same time, we might assume, wishing to protect his own rights as a recording artist. Alternatively, the authors of the various DeCSS code works want both the free flow of information which then results in a possible free flow of media content. Naturally, this does not sit well with the current lords of copyright: the corporations. The new open-source author works contrary to all copyright. Freed Slaves The model of the open source author is not without precedent. Historically, prior to copyright and the culture industry, this approach to authorship was the norm. The Roman poet Martial, known for his wit and gifts of poetry, wrote I commend to you, Quintianus, my little books – if I can call them mine when your poet recites them: if they complain of their harsh servitude, you should come forward as their champion and give your guarantees; and when he calls himself their master you should say they are mine and have been granted their freedom. If you shout this out three or four times, you will make their kidnapper (plagiario) feel ashamed of himself. Here of course the cultural producer is a landed aristocrat (a situation common to early Western poets such as Chaucer, Spencer and More). The poem, or work, exists in the economy of the gift. The author-function here is also not the same as in modern times but was based on the advantages of reputation and celebrity within the Roman court. Similarly other texts such as stories, songs and music were circulated, prior to print, in a primarily oral economy. Later, with the rise of the professional guild system in late medieval times, the patronage system did indeed pay artists, sometimes royal sums. However, this bursary was not so much for the work than for upkeep as members of the household holding a particular skill. The commercial aspect of the author as owner only became fully realised with the rise of the middle classes in the eighteenth and nineteenth century and led to the global adoption of the copyright regime as the culture industry’s sanction. Added to this, the author is now overwhelmingly a corporation, not an individual, which has expanded the utilisation of these statutes for commercial advantage to, perhaps, an unforeseen degree. To understand the file-sharing period, which we are now entering at full speed, we cannot be confused by notions found in the copyright acts; definitions based on copyright cannot adequately express a culture without commercial concerns. Perhaps the discussion needs to return to concepts that predate copyright, before the author-function (as suggested by Foucault) and before the notion of intellectual property. That we have returned to a gift economy for cultural products is easily understood in the context of file-sharing. But what of the author? Here the figure of the hacker suggests a movement towards such an archaic model where the author’s remuneration comes in the form of celebrity, or a reputation as an exciting innovator. Another model, which is perhaps more likely, is an understanding that certain material disseminated will be sold and administered under copyright for profit and that the excess will be quickly and efficiently disseminated with no profit and with no overall duration of protection. Such an amalgamated approach is exemplified by Radiohead’s Kid A album, which, although available for free downloads, was still profitable because the (anachronistic) printed version, with its cover and artwork, still sold by the millions. Perhaps cultural works, the slaves of the author-corporation, should be granted their freedom: freedom from servitude to a commercial master, freedom to be re-told rather than re-sold, with due attribution to the author the only payment. This is a Utopian idea perhaps, but no less a fantasy than the idea that the laws of copyright, born of the printing press, can evolve to match the economy today that they purport to control. When thinking about ownership and authorship today, it must be recalled that copyright itself has a history of useful fictions. References Michel Foucault; “What Is an Author?” Twentieth-Century Literary Theory. Eds. Vassilis Lambropoulos and David Neal Miller. Albany: State UP of New York, 1987. 124-42. “42 Ways to Distribute DeCSS.” 5 Jun. 2005 http://decss.zoy.org/>. Jeffreys v Boosey, 1854. Johansen, Jon Lech. So Sue Me. 5 Jun. 2005 http://www.nanocrew.net/blog/>. Citation reference for this article MLA Style Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/06-phillipswatts.php>. APA Style Phillips, D., and O. Watts. (Jun. 2005) "Copyright, Print and Authorship in the Culture Industry," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/06-phillipswatts.php>.

This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.

This PhD consists of three screenplays adapted from my novels and an exegesis which explores the involvement and influences producers have had on the eventual screenplay outcomes. In developing a first draft of original screenplays writers often work alone and without critical feedback, development assistance or encouragement from third parties. The writing process can continue in this way for some time, through many drafts, until the writer either abandons the project or finds some development assistance either from government film support agencies, producers, or both. At that stage, the writer enters a new creative process which involves collaboration, negotiation, and a series of artistic and institutional expectations which will no longer be theirs alone. In the situation where a producer options an existing creative work, such as a novel, and commences an adaptation project, this scriptwriting collaborative process will start much earlier. This is usually the case when a producer options a novel and employs a scriptwriter to create a film version of that story. The scriptwriter must attempt to meet the aesthetic requirements of the material at hand, yet also meet the film expectations that exist in the producer's mind - who, in his or her imagination, will already have cast, filmed and screened the film adaptation on a mental canvas. Where the screenplay adaptor is also the creator of the original material, a series of questions are raised which affect the rights of the original writer to maintain some control over their material balanced against the rights of the producer (the material's new "proprietor") to tell the story in whichever way he or she thinks is best. This exploration is balanced by studying practitioner accounts of the novel to film adaptation process, and by considering the critical literature on the subject. The exegesis argues that when a producer takes ownership of a novel's screen rights, he or she can have a marked affect on the screenplay adaptation process. The reinterpretation of that material for the screen can be more closely aligned to the producer-proprietor's expectations than those of the original creator or the screenwriter employed to write the novel to film adaptation.

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.

Work in Progress - the Writing of Short Changed is the account of the script writing process I developed and followed in the writing of the first draft of the Low Budget feature film, Short Changed. It is a process that was developed by a combination of guidance, mentorship, research, experiment and talking with and listening to other writers during the 1998 Pacific Film and Television Commission's New Writer's Workshop. Short Changed was written over a six month period. During the previous year I had intermittently researched and pondered on the knowledge of an event that had invaded my mind. In the process of writing Short Changed, I have learnt much about the craft of screen writing and I have developed an approach which I intend to use in the writing of future screenplays. There are many ways to write a screenplay. My goal as a writer was to find the way that worked for me; to find the process that created a screenplay that embodied the hallmarks of both creativity and craft. As an accomplished writer of expository prose, I was searching for the key that would unlock the door to the world of writing creative fiction. This document is a reflective account of my creative writing process. It includes the exploration and actualization of the complex and intricate workings of the mind.

This thesis in Creative Writing consists of an original feature-length screenplay and an essay examining the function of setting within the screenwriting discourse. The screenplay, titled 'Cooper Street', is set in future Perth where rumors of an alien presence threaten to disrupt the state's lucrative mining industry. Setting plays a key role within 'Cooper Street'. Scenes are set across giant sweeps of desert, inside sea containers converted to inner-city housing, and within raging sporting crowds to create a believable projection of life in future Western Australia. These characteristics facilitate the accompanying essay, which explores the factors that inform decisions on setting. The topic of setting is approached on several levels. Initially there is an examination of the issue of originality. The possible advantages of using original settings, as opposed to the familiar or cliche is discussed, with several interesting findings. Secondary to this is an exploration of the relationship between setting and activity within a screenplay. Certain types of settings are suggested as being more conducive to activity, and the potential benefits of both active and passive settings are considered. Finally the issue of a setting's thematic potential is addressed. An active relationship is revealed between a screenplay's settings and thematic preoccupations. Examination of the creative implementation of this relationship confirms the potential for setting to be a defining force within screenwriting. Whilst several films are used as a reference within the essay, the main point of analysis will be 'Cooper Street'. Various decisions informing the selection of settings throughout 'Cooper Street' are examined within the theoretical framework outlined, with the aim of establishing a rationale in an area often overlooked by existing screenwriting manuals.

Abstract Chapter 1 considers the role of authors in silent-era motion-picture production. It traces the transformations in authorship effected by such encounters and as it shifted out of the study, into the studio, and onto the screen. It argues that it was less the author’s craft that came so to appeal to the studios than their reputation and the cultural capital that accrued to literary authorship, something the studios sought to exploit. To that end, they began to market authors in the same way they came to market their stars. This chapter traces these transformations via a consideration of the careers of Jack London and Gertrude Atherton, among other popular authors, as well as Samuel Goldwyn’s Eminent Authors Inc.

Abstract Chapter 2 considers the encounters of race film—all-Black-cast films largely produced and consumed by African Americans—and early twentieth-century Black literature, two fields only very rarely brought into conversation, although, as this chapter finds, there were significant exchanges between the two media and industries. It discovers it was motion pictures that provided Black authors as diverse as Oscar Micheaux, Paul Laurence Dunbar, and Wallace Thurman a means to navigate the gnarly terrain of Black authorship across the early decades of the twentieth century, caught as it seemed to be between the demands and expectations of literary and vernacular forms.