This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners.
Cuprins
1.Introduction.- Part I: What Screenwriting ontology: Defining the screenplay and screenwriting.- 2. How to Think about Screenwriting.- 3. Screenplectics: Screenwriting as a Complex Adaptive System.- 4. Collaboration, Cooperation, and Authorship in Screenwriting aka How Many People Does It Take to Create an Author?.- 5. Acts of Reading: The Demands on Screenplay Reading.- 6. The Reality of (Screen) Characters.- 7. “We Come to Realize”: Screenwriting and Representations of Time.- 8. The Motion-Picture Screenplay as Data: Quantifying the Stylistic Differences Between Dialogue and Scene Text.- 9. Writer/Reader as Performer: Creating a Negotiated Narrative.-10. An Ontology of the Interactive Scripts.- PART II: When/Where Screenwriting Historiography.- 11. Historiographies of Screenwriting.- 12. They Actually Had Scripts in Silent Films? Researching Screenwriting in the Silent Era.- 13. Silent Screenwriting in Europe: Discourses on Authorship, Form, and Literature.- 14. When Women Wrote Hollywood: How Early Female Screenwriters Disappeared from the History of the Industry They Created. A Case Study of Four Female Screenwriters.- 15. Narrating with Music: Screenwriting Musical Numbers.- 16. Women Screenwriters of Early Sinophone Cinema: 1916–1949.- 17. A Historiography of Japanese Screenwriting.- 18. Writing Social Relevance: U.S. Television Dramas in the Civil Rights Era.- 19. Horror Bubbles: Andrés Caicedo’s Weird Screenplays.- 20. Writers as Workers: The Making of a Film Trade Union in India.- 21. The Evolving Depictions of Black South Africans in the Post-Apartheid Screenwriting Tradition.- PART III: Who Screenwriting and the Screen Industries.- 22. The International Writers’ Room: A Transnational Approach to Serial Drama Development from an Italian Perspective.- 23. Writing Online Drama for Public Service Media in the Era of Streaming Platform.- 24. Screenwriting for Children and Young Audiences.- 25. Imitations of Life? A Challenge for Black Screenwriters.- 26. Beauties and Beasts: The Representation of National Identity through Characterization in Syrian-Lebanese Pan-Arab Dramas.- 27. “That’s a Chick’s Movie!”: How Women Are Excluded from Screenwriting Work.- 28. The Different American Legal Structures for Unionization of Writers for Stage and Screen.- PART IV: How Approaches to Screen Storytelling.- 29. Random Access Memories: Screenwriting for Games.- 30. “Everybody Chips in Ten Cents, and Somehow It Seems to Add Up to a Dollar”: Exploring the Visual Toolbox for Animation Story Design.- 31. The Short-Form Scripted Serial Drama: The Novice Showrunner’s New Opportunity.- 32. The Plural Protagonist. Or: How To Be Many and Why.- 33. The Haptic Encounter: Scripting Female Subjectivity.- 34. Script Development from the Inside Looking Out.Telling a Transnational Story in the Australian Films
33 Postcards (Chan, 2011) and
Strange Colours (Lodkina, 2017).- 35. Extended How? Narrative Structure in the Short and Long Versions of
The Lord of the Rings,
Kingdom of Heaven, and
Dances with Wolves.- PART V: How To Researching and Teaching Screenwriting: Discourses and Methods.- 36. Film Dramaturgy: A Practice and a Tool for Researchers.- 37. Screenwriting Pedagogy in the United States: In Search of the Missing Pieces.- 38. Screenwriting Manuals and Pedagogy in Italy from the 1930s to the End of the 20th Century.- 39. Screenwriting, Short Film, and Pedagogy.- 40. Screenwriters in the Academy: The Opportunities of Research-Led Practice.
Despre autor
Rosamund Davies has a background of professional practice in the screen industries and is Senior Lecturer at the University of Greenwich, UK.
Paolo Russo is Senior Lecturer in Film at Oxford Brookes University, UK, and a former Chairperson of the Screenwriting Research Network. He is also a professional screenwriter.
Claus Tieber teaches Film Studies at universities in Vienna, Brno, Kiel, and Salamanca and is a former Chairperson of the Screenwriting Research Network.
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