Relevant bibliographies by topics / Adapted screenplay

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Adapted screenplay'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Adapted screenplay"

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Breed, C. A., and S. F. Greyling. "’n Ondersoek na ’n werkswyse: die herskryf van ’n komplekse Afrikaanse roman na ’n draaiboek." Literator 31, no. 2 (July 13, 2010): 83–116. http://dx.doi.org/10.4102/lit.v31i2.48.

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An investigation into a methodology: the adaptation of a complex Afrikaans novel into a screenplay Very few Afrikaans films are currently being produced. One of the possible reasons for this phenomenon could be that very few Afrikaans screenplays are written nowadays. There are, however, some good Afrikaans novels which could conceivably become commercially successful films, provided they were properly adapted into screenplays. In this article, the methodology that was used by an aspiring Afrikaans screenwriter to adapt the Afrikaans novel, “Die swye van Mario Salviati”, by Etienne van Heerden, into a screenplay, is discussed. The purpose of this study was to investigate a particular writing method that can be used by screenwriters to adapt an Afrikaans novel into a screenplay. The investigation included a practical application, giving the writer an opportunity to test the validity of the methodology. The various phases of the investigation and the adaptation itself are discussed in the article, and the efficacy of the methodology is evaluated.
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Munt, Alex. "expensive words, cheap images: ‘Scripting’ the adapted screenplay." Journal of Screenwriting 4, no. 1 (August 29, 2012): 57–76. http://dx.doi.org/10.1386/josc.4.1.57_1.

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Sherry, Jamie. "Adaptation studies through screenwriting studies: Transitionality and the adapted screenplay." Journal of Screenwriting 7, no. 1 (March 1, 2016): 11–28. http://dx.doi.org/10.1386/josc.7.1.11_1.

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Gefen, Rina, and Rachel Weissbrod. "Collaborative self-translation in the screenplays of The Godfather trilogy." Journal of Screenwriting 12, no. 1 (March 1, 2021): 39–54. http://dx.doi.org/10.1386/josc_00047_1.

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This study examines the adaptation of the novel The Godfather into screenplays by author Mario Puzo and director Francis Ford Coppola. Combining translation and adaptation studies, we regard this adaptation as a case of ‘collaborative self-translation’, a concept that has so far been rarely applied beyond translations studies, and use a model designed for the study of adaptation to analyse it. However, we expand the model by applying it to screenplays, and examining prequel and sequel, which are mainly present in the second and third screenplays of the trilogy. In addition to calling attention to the screenplay as a vital stage in the transformation of a literary work into a film, this article shows that the adaptation model can be a valuable tool to systematically analyse adapted screenplays, thus expanding the methodological repertoire of both adaptation and screenwriting studies. Moreover, it was found that the combined discussion of adaptation, sequel and prequel may contribute to an understanding of the complex relations between them and the source. Based on these theoretical insights, we show that through merging the creative powers of Puzo and Coppola, the screenplays shed new light on social, family and cultural themes that appear to some extent in the novel, taking the conventions of the crime genre in new and surprising directions.
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Dickenson, Sarah Jane. "Anthony Minghella: Aautobiographical memory and the creation of an adapted screenplay." Journal of Adaptation in Film & Performance 6, no. 2 (September 1, 2013): 317–28. http://dx.doi.org/10.1386/jafp.6.2.317_1.

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Hermansson, Joakim. "Characters as fictional migrants: Atonement, adaptation and the screenplay process." Journal of Screenwriting 11, no. 1 (March 1, 2020): 81–97. http://dx.doi.org/10.1386/josc_00014_1.

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The migration metaphor has been widely used in connection with media adaptions, but the metaphor has remained an abstract figure of speech. Yet, to understand characters as migrants who go through journeys of acculturation when they are adapted for the screen may enhance understanding of both the characters’ potential and problems that may arise during the development process. This article proposes that the development of characters and their processes ‐ as fictional beings ‐ can be understood through the use of models that describe real migrants’ adaptation processes. Using Christopher Hampton’s screenplay drafts for the film Atonement (2001), it outlines how such migratory journeys go hand in hand with screenwriters’ problem-solving processes. The article thus develops the idea that migrating characters, in their capacity as fictional beings and the thematic issues that they represent, both adapt to and appropriate their new media environments; simultaneously, they are appropriated by new creative forces and by the conventions of those new media environments, who in turn must adapt to the characters in this process of bi-directional acculturation.
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Arakkal, Rinshila. "From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool." International Journal of English and Comparative Literary Studies 1, no. 1 (November 22, 2020): 1–20. http://dx.doi.org/10.47631/ijecls.v1i1.144.

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Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective. Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis. Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions. Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.
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Aanavi, Michael Prager. "In VideoEyes Wide Shut. Directed by Stanley Kubrick . Screenplay by Stanley Kubrick and Frederic Raphael . Adapted from Arthur Schnitzler's Dream Story. New York, Warner Books, 1926/1999." San Francisco Jung Institute Library Journal 19, no. 4 (February 2001): 71–76. http://dx.doi.org/10.1525/jung.1.2001.19.4.71.

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Roose, Jeanine. "It’s a Wonderful Life (1946). Directed By Frank Capra. Screenplay by Albert Hackett & Frances Goodrich. Adapted from the book The Greatest Gift, by Philip Van Doren Stern." Psychological Perspectives 61, no. 4 (October 2, 2018): 553–57. http://dx.doi.org/10.1080/00332925.2018.1536531.

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Mirowska, Paulina. "Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s "The Comfort of Strangers"." Text Matters, no. 3 (November 1, 2013): 171–85. http://dx.doi.org/10.2478/texmat-2013-0033.

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A careful analysis of Harold Pinter’s screenplays, notably those written in the 1980s and early 1990s, renders an illustration of how the artist’s cinematic projects supplemented, and often heightened, the focus of his dramatic output, his resolute exploration of the workings of power, love and destruction at various levels of social interaction and bold revision of received values. It seems, however, that few of the scripts did so in such a subtle yet effective manner as Pinter’s intriguing fusion of the erotic, violence and ethical concerns in the film The Comfort of Strangers (1990), directed by Paul Schrader and based on Ian McEwan’s 1981 novel of the same name. The article centres upon Pinter’s creative adaptation of McEwan’s deeply allusive and disquieting text probing, amongst others, the intricacies and tensions of gender relations and sexual intimacy. It examines the screenplay—regarded by many critics as not merely an adaptation of the novel but another, very powerful work of art—addressing Pinter’s method as an adapter and highlighting the artist’s imaginative attempts at fostering a better appreciation of the connections between authoritarian impulses, love and justice. Similarly to a number of other Pinter filmscripts and plays of the 1980s and 1990s, the erotic and the lethal alarmingly intersect in this screenplay where the ostensibly innocent—an unmarried English couple on a holiday in Venice, who are manipulated, victimized and, ultimately, destroyed—are subtly depicted as partly complicit in their own fates.
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Dissertations / Theses on the topic "Adapted screenplay"

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Mellberg, Rebecka. "In, jag vill in : Kvinnornas resa genom adaptionsprocessen av Den allvarsamma leken 2016." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32447.

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The aim of this thesis is to investigate how the female characters of the Swedish novel The Serious Game (Den allvarsamma leken) by Hjalmar Söderberg (1912) are represented in the film adaptation from 2016, a film adaptation by Pernilla August (director). The thesis also asks what the adapted screenplay by Lone Scherfig can reveal about how the novel’s characters are transformed through the adaptation process. The study has two main purposes: (1) to investigate the film adaptation as a process by considering the adapted screenplay as an interstitial and at the same time autonomous work bridging the novel and the final film, and (2) to investigate how the specific form and structure of the screenplay, as well as contextual and industrial aspects are of some significance for the representation of the female characters in the final film. The analysis of the female characters’ transformation through the adaptation process uses a combination of screenwriting theory and adaptation theory in order to explore the relationship between the novel, the adapted screenplay and the final film. One of the main conclusions of the study is that the male characters of the novel are transformed into being oppressive towards the female characters in more direct manners. As a result, the female characters liberation is somewhat transformed into a liberation from individual men rather than from vast structural, political or legal oppressions. It also shows that this representation of the novels characters gradually transforms according to this tendency in the adaptation process. The study also shows how the screenplay can be seen as a textual context in film adaptation.   Full English title: “In, I long to get in. The women’s journey through the adaptation process of The Serious Game 2016”
Det finns många studier som undersöker filmadaptioner, det vill säga när till exempel en roman blir till film. Traditionellt sett undersöks då framför allt relationen mellan den färdiga filmen och dess ursprungliga förlaga, romanen. Den här uppsatsen utforskar istället filmadaption som en process, och det genom att se till en mellanliggande text som ofta har förbisetts inom adaptionsstudier, filmmanuset. I min analys vill jag, till skillnad från i många tidigare adaptionsanalyser som behandlar filmmanus, se filmmanuset som en ”färdig” eller åtminstone självständig text som kan analyseras i relation till en förlaga eller film utan att på samma gång upp- eller nervärdera dess betydelse eller status som ett eget verk. I syfte att belysa filmmanus som ett relevant studieobjekt inom adaptionsstudier analyseras den danska manusförfattaren Lone Scherfigs filmmanus Den allvarsamma leken i relation till förlagan, Hjalmar Söderbergs roman från 1912, och filmadaptionen från 2016, i regi av Pernilla August. Syftet är också att utifrån filmskaparnas uttalade ambition att lyfta fram romanens kvinnor, undersöka hur detta har gjorts, och det genom att analysera de kvinnliga rollfigurernas ”resa” genom adaptionsprocessen. Inspirerad av diskussioner inom den aktuella adaptionsforskningen, där nya teoretiska ingångar och analysmetoder uppmuntras, prövar jag en kombination och tillämpning av adaptions- och manusteori. Detta med målet att kunna behandla filmmanuset som ett betydelsefullt och mellanliggande steg i en adaptionsprocess, och samtidigt som en egen självständig text – filmmanuset som en adaption av romanen, och filmen som en adaption av filmmanuset. Analysen visar att framställningen av Den allvarsamma lekens rollfigurer har genomgått en successiv omformning under adaptionsprocessen – först i överföringen från roman till filmmanus, och därefter från filmmanus till film. Dessutom visar det sig att rollfigurernas successiva omformning har skett enlig en tendens liknande den som adaptionsforskaren Liora Brosh tidigare uppmärksammat i filmadaptioner av viktoriansk litteratur, som till exempel Svindlande Höjder och Jane Eyre. Brosh ser hur det förtryck som den viktorianska litteraturens kvinnor utsätts för har omformats i filmadaptionerna, bland annat genom att romanernas manliga karaktärer framställts som mer ondsinta eller våldsamma än i romanerna. Uppsatsen uppmärksammar också att filmmanus kan ses som ett slags textuell kontext inom filmadaption eftersom den västerländska filmens berättarstruktur enligt flera film- och filmmanusforskare till stor del formats av de strikta berättartekniska konventioner som förmedlats via otaliga filmmanushandböcker under de senaste hundra åren.
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Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

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Ndounou, Monica. "The color of Hollywood: The cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180535612.

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Books on the topic "Adapted screenplay"

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Diana, Ossana, and Proulx Annie, eds. Brokeback Mountain: A screenplay adapted from an Annie Proulx story. [S.l: s.n., 2003.

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Gikow, Louise. Dr. Seuss's how the Grinch stole Christmas! movie storybook: Adapted by Louise Gikow ; based on the motion picture screenplay by Jeffrey Price & Peter S. Seaman. New York: Random House, 2000.

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How to adapt anything into a screenplay. New York: Wiley, 2003.

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David, Hare. The hours: Adapted screenplay. 2001.

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Black Beauty (adapted by betty Birney from the screenplay by Caroline Thompson). A Golden Book, 1994.

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1944-, Lucas George, ed. Star Wars: Episode 1 : the phantom menace : a storybook adapted from the screenplay and story by George Lucas. New York: Random House, 1999.

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Boozer, Jack. The Intratextuality of Film Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.11.

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By observing the authorial intentions on the part of the novelist and the adapted film’s producer, screenwriter, director, and cast, Chapter 11 examines the intratextual process at work in the transformation of Philip Roth’s novella The Dying Animal to the big screen as Elegy. The notion of serial authorship can capture the creative interaction of intentions characteristic of the multi-source nature of film adaptation, whose products serve two texts: the source literary work and the screenplay derived from it. The essay considers the hints of Roth’s personal views and autobiography implied through his narrator, David Kepesh, and this character’s relationships with women, as well as through the implied author’s own position as a writer—a self-conscious status the film does not engage.
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Krevolin, Richard. How to Adapt Anything into a Screenplay. Wiley & Sons, Incorporated, John, 2009.

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Adaptation - Beyond the Basics: How to Adapt Books, Comics, News and Real Life Stories into Award-Winning Screenplays. Taylor & Francis Group, 2017.

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Book chapters on the topic "Adapted screenplay"

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Süslü, Bilal. "From “Hero” to “Evil”." In Advances in Media, Entertainment, and the Arts, 193–206. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4778-6.ch014.

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The security guard, who was the pioneer to prevent the suspicious package left in the entertainment area, was primarily declared as ‘hero' after the incident in Atlanta during the 1996 Atlanta Olympics, and then he was vilified as ‘evil' as a result of the Federal Bureau of Investigation (FBI) and media representations about the incident. The incident was adapted into the movie Richard Jewell in 2019, directed by Clint Eastwood. The movie, in which Jewell's devastating life is narrated in the screenplay, is regarded as to be worth analyzing because the media reflects the witch hunt that Stanley Cohen defines as a moral panic. Consequently, the moral panic creation of the media is tried to be analyzed through the movie Richard Jewell in this study.
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Arnold, Darren. "Authorship and Adaptation." In The Devils, 31–58. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325758.003.0004.

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This chapter examines Ken Russell's The Devils (1973) in terms of authorship and adaptation. The Devils is often viewed, quite understandably, as being pure Ken Russell, but the influence of the two acknowledged sources on his screenplay should not be overlooked. A common view is that much of the historical information in the film was gleaned from Aldous Huxley's 1952 book The Devils of Loudun, and the dialogue was influenced by (or lifted from) John Whiting's 1961 play The Devils. Both of the film's credited sources allow for interesting correlations with Russell's film, but what is often passed over is that Whiting's play was based on Huxley's book—therefore the film is based on both a book and a play that was based on that same book, meaning Russell adapts Huxley both directly and indirectly. With this in mind, a straightforward bifurcation of The Devils' screenplay is not really possible.
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Rabin, Nathan. "Interview with Robert Towne." In John Fante's Ask the Dust, 237–44. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287864.003.0015.

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In this interview, legendary Hollywood screenwriter Robert Towne explains how discovering Ask the Dust influenced his writing. The novel’s depiction of 1930s Los Angeles and the era-specific dialogue of its characters helped inform his writing of the Academy Award-winning screenplay for Chinatown (1974). Wishing to go on and adapt Ask the Dust to the screen—a process that would end up taking decades—the young Towne sought out the novel’s aging, ill, and irascible Fante, earning a hard-won friendship that in his own advancing years Towne recalls with affection.
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Navarrete-Cardero, Luis. "The Poetics of Videogames." In Advances in Business Strategy and Competitive Advantage, 103–14. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch008.

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The poetic processes that underlie the production of narrative and literary works, film or television screenplays are adapted to transtextual and intertextual logic, which facilitates the transition of the text from its sense to its meaning. All narrative production generates its own sense in the act of linear reading by the reader and/or the spectator. However, the access to the sphere of meaning can only be found in the within the whole of the relationships that a given work maintains with other works that are absent. From this point of view, we propose to apply the logic of the poetics of sense and meaning to the realm of the videogame. Our goal is to prove that such a logic may exist. Yet, videogames have certain rules which regulate their lending and borrowing, thus a legal framework replaces a discursive influence.
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Woller, Megan. "Interpretation and Characterization in Lerner and Loewe’s Camelot." In From Camelot to Spamalot, 65–100. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197511022.003.0003.

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This chapter looks at how Alan Jay Lerner and Frederick Loewe adapt T. H. White’s The Once and Future King in both original 1960 Broadway stage production and the 1967 Hollywood film adaptation. Specifically, this chapter looks at how the musical Camelot interprets White’s version of Arthurian legend, tracking the changes Lerner and Loewe made and especially how song affects characterization. Drawing on archival research completed at the Library of Congress, this chapter examines the process of adapting this long unwieldy myth into a musical. Although Loewe did not work on the 1967 film, Lerner wrote the screenplay. Since the film version remains fixed and widely available, it is worth investigating how the changes made to it further adapt the tale. Since Lerner and Loewe chose to focus on the love triangle between Arthur, Guenevere, and Lancelot, this chapter pays particular attention to how Lerner and Loewe alter their characters.
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O'Meara, Jennifer. "Adapting Dialogue and Authorial Double-voicing." In Engaging Dialogue, 159–75. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0008.

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Dialogue’s association with the literary arts is a key reason why it has been historically undervalued within film studies. Adaptation scholars have demonstrated sustained interest in voice-overs, as part of a broader interest in the transcodification of narration techniques across media. However, the discipline has tended to downplay the significance of dialogue more broadly. By focusing on the verbal elements of adaptations, as well as other literary influences on American independent cinema, this final chapter begins to address this imbalance. The chapter examine how independent writer-directors’ literary interests can influence the dialogue in their original and adapted works. After considering Whit Stillman’s multi-directional adaptations, dialogue as storytelling, and reflexive adaptation, it is found that dialogue can be used to create verbal consistency between these writer-directors’ adaptations and their original screenplays. Drawing on Mikhail Bakhtin’s literary concept of ‘double voicing’, the chapter also explores how indie writer-directors’ use characters as mouthpieces that reflecting their own opinions.
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LoBrutto, Vincent. "Alienation." In Ridley Scott, 45–60. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0006.

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Ridley Scott decides to adapt Tristan and Isolde for his next film, with producer David Puttnam on board and a completed screenplay. In 1977 it is placed in development at Paramount. Scott sees Star Wars and is devastated to learn that the movie incorporated many of the ideas he had had for his project. 20th Century Fox puts Scott on a list of possible directors for Alien. Scott is selected and signs onto the dark science fiction/horror film. The movie concerns a beast aboard a spaceship that devours the crew members one by one. The remaining member, a strong and capable woman, manages to eliminate the monster. The visuals are complex, believable, and very scary. The film is a success and puts Ridley Scott on the Hollywood map. Scott next says yes to Dune, a major science fiction project, but his brother Frank dies of cancer at forty-five and Ridley Scott is emotionally unable to continue with the project. In 1975 he marries Sandy Watson, with whom he has a daughter, Jordan. Watson and Scott divorced in 1989.
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"A writer celebrated equally for his work on the stage and the screen, Christopher Hampton was born in the Archipalego of the Azores, living as a child for a time in Egypt and Zanzibar because of his father’s job with the communications company Cable & Wireless. Studying French and German at university in England, Hampton knew from a young age that he wanted to be a writer, but after an unsuccessful stab at a novel, he turned his attention to playwriting. He wrote the play When Did You Last See My Mother? when he was only 18—it was produced at The Royal Court Theater two years later, to much acclaim. From there, Hampton enjoyed a flourishing theatrical career with works such as Total Eclipse and The Philanthropist. His success as a screenwriter began with Carrington (1995), which he wrote in the mid-1970s after being moved by Michael Holroyd’s extensive biography of writer Lytton Strachey. Carrington took 20 years to reach cinemas, but Hampton had a much quicker turnaround with his screenplay for Dangerous Liaisons (1988), which was based on his hit play and adapted from the 18th-century novel by Pierre Choderlos de Laclos. Written in three weeks in the late fall of 1987, the film landed in theaters a little over a year later, winning Hampton an Oscar for Best Adapted Screenplay. Hampton’s career has encompassed translations of the plays God of Carnage and Hedda Gabler, and he has also co-written the book and lyrics for the 1990s musical based on Billy Wilder’s Sunset Boulevard (1950). Hampton adapted his own play for the film Total Eclipse (1995) and received a second Academy Award nomination for his screenplay for Atonement (2007). In 2011, he turned his play The Talking Cure into the script for director David Cronenberg’s A Dangerous Method. Other notable screenplay adaptations include Mary Reilly (1996), The Quiet American (2002), and Chéri (2009). Hampton has also directed three of his scripts: Carrington, The Secret Agent (1996), and Imagining Argentina (2003)." In FilmCraft: Screenwriting, 97–101. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-31.

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"John August wrote his first story, about a boy who gets trapped in a hole on Mars, at the age of seven on his mother’s typewriter. From there, he’s developed into one of Hollywood’s most in-demand screenwriters, notably working on several projects with director Tim Burton. Their partnership began with Big Fish (2003), which earned August a BAFTA nomination for Best Adapted Screenplay. From there, he wrote the screenplay to Charlie and the Chocolate Factory (2005) and co-wrote the script for Corpse Bride (2005). More recently, August has collaborated with Burton on Dark Shadows (2012) and Frankenweenie (2012), the full-length adaptation of the director’s cult 1984 animated short. August’s first screen credit came from his original screenplay for the comedy-thriller Go (1999), a funny, vibrant examination of a collection of different characters on Christmas Eve. He co-wrote Charlie’s Angels (2000) and Charlie’s Angels: Full Throttle (2003), which combined have grossed more than $520 million worldwide, and Titan A.E. (2000), a multiple nominee at the Annie Awards, which recognize excellence in the field of animation. In 2007, he wrote and directed the provocative mind-twister The Nines. When he’s not writing scripts, he devotes time to his website, johnaugust.com, where he discusses the business and art of screenwriting." In FilmCraft: Screenwriting, 39–41. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-12.

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"French writer Jean-Claude Carrière’s creative life has encompassed novels, plays, cartoons, poems, and short films. But it is his screenplays that have most assuredly cemented his position as one of the century’s great writers. Receiving his start in cinema in the mid-1950s by writing book adaptations of director Jacques Tati’s Mr. Hulot’s Holiday (1953) and Mon Oncle (1958), Carrière eventually teamed up with comic filmmaker Pierre Étaix on two short films, including the Oscar-winning Happy Anniversary (1962). From there, he began a long and fruitful collaboration with director Luis Buñuel, a 13-year partnership that resulted in six films: Diary of a Chambermaid (1964), Belle de Jour (1967), The Milky Way (1969), The Discreet Charm of the Bourgeoisie (1972), The Phantom of Liberty (1974), and That Obscure Object of Desire (1977). He has proved equally confident with original screenplays and adapted works, and he has received three Academy Award nominations for his scripts. Highlights of his filmography include The Tin Drum (1979), which won the Best Foreign Language Film Oscar, The Return of Martin Guerre (1982), which earned him and co-writer Daniel Vigne a César for Best Original Screenplay, his adaptation of The Unbearable Lightness of Being (1988), and his acclaimed Cyrano de Bergerac (1990) with Gérard Depardieu. A recipient of the Laurel Award for Achievement from the Writers Guild Of America, Carrière remains a prolific writer, contributing to the screenplays of both Birth (2004) and The White Ribbon (2009), which won the Palme d’Or at the Cannes Film Festival. “I’m writing every day,” he says at age 80. “When I’m not working on a script or on a play or on a book, I’m writing notes in the subway or in taxis. I’m working constantly.”." In FilmCraft: Screenwriting, 61–62. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-18.

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