Relevant bibliographies by topics / Film screenplay

Contents

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

Academic literature on the topic 'Film screenplay'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Film screenplay"

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Goncharenko, Alexander A. "Between ideology and literature: the discussion of screenplays in the USSR in the 1930s." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 27–36. http://dx.doi.org/10.17816/vgik11127-36.

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The essay deals with the gradual cessation of discussions of the theory of the iron (rigid) screenplay (championed by Vladimir Sutyrin and Mikhail Bleiman) and the theory of the emotional screenplay (developed by Sergei Eisenstein and Aleksandr Rzheshevsky) As these two theories were discussed by very different personalities, their institutional or group identification is complicated. In the second half of the 1930s, Boris Shumyatsky and Bella Kravchenko developed the concept of the ideological screenplay. The main apologist of the ideological screenplay theory was Valentin Turkin. He expounded it in the book The Dramaturgy of Cinema in 1938. The same historical period saw the development of the practice of publishing scripts in and periodicals and as books, as well as the phenomenon of recording screenplays from films. Turkin stood on a radical literature-centric position: "The film can be better or worse than the screenplay, but there is a screenplay next to it with which it can be compared. ... With this screenplay, you can make a picture again and again. Finally, it can be printed, brought to the attention of the viewer, give the viewer the opportunity to compare the film with the screenplay, and read the screenplay without watching a movie .... The screenplay can and must be always a verifying artistic document". If the screenplay expressed the ideology of the film, then it was not only an independent but also a more important work than the film itself. The screenplays specificity developed in three stages: 1) the prevalence of the iron screenplay in the 1920s; 2) the fashion for the emotional screenplay and the beginning of the publication of screenplays in periodicals and in book form; 3) the formation of the concept of the ideological screenplay. In the Soviet culture of the 1930s, literature was considered as the primary source of ideas. Other arts played the role of copies, dramatizations, interpretations, etc. Moreover, in a number of statements, although it appears to be the goal of screenwriting, the film already exists as something that a screenwriter can write down with a certain degree of precision and excitement. The research of the genesis of the ideological screenplay conducted for this essay has been based on rare periodicals and the archive of the All-Russian Society of Playwrights and Composers (Vseroscomdram). Numerous examples cited in the essay demonstrate the features of literature-centric thinking. And such materials as articles published in periodicals and lively discussions provide well-known patterns with vivid details.
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Brickey, Russell. "Art in the ‘big print’: An examination and exercises for cinematic prose writing style." Journal of Screenwriting 12, no. 2 (June 1, 2021): 227–42. http://dx.doi.org/10.1386/josc_00061_1.

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Guides to writing screenplays worry most about plot sequence, character development and the dialogue. Yet, the ‘big print’ is a necessary part of any screenplay and as an educator I work with my screenwriting students to learn how to craft the big print so it is both powerful and minimal. This article is an examination of the art and style of screenplay prose; in particular, I use the screenplays of Arac Attack (released as Eight Legged Freaks), Aliens and Platoon as distinctive examples of diegetic writing in order to illustrate variations of style and how these affect the progress of the script and further, how the encumbering big print forecasts the overall tonal choices of the film. Each style discussed (minimalist, poetic/expansive and florid/expressionistic) is accompanied by suggestions for classroom or independent-study exercises meant to help develop movie writing style. Too long has the screenplay been seen simply as a blueprint for the final film; it is now time to begin appreciating the art of the written word in screenplay studies.
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Henschen, Jan. "Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema." Journal of Screenwriting 10, no. 3 (September 1, 2019): 247–59. http://dx.doi.org/10.1386/josc_00002_1.

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A case study on Urban Gad’s German shooting script for Die Filmprimadonna (The Film Primadonna, 1913) reviews the screenplay in the production process shortly after the emergence of multiple-reel feature films. In the dramatic story of the rise and fall of a film prima donna, a fictitious screenplay plays an idiosyncratic function in filmmaking that sketches, for the cinematic audience of that time, a specific idea of how and why an appropriate script has to be made. The article offers an analysis of Gad’s preserved script and demonstrates that this screen-idea contrasts with the value and agency of screenplays in the historic mode of production in 1913. Inasmuch as the plot of the movie simply highlights the function of acting, Die Filmprimadonna as a script itself functions as a complex and highly composed agent in the process of filmmaking ‐ as both a narrative and, equally, a production schedule for the film.
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Černík, Jan. "The strange case of the three-column screenplay format in 1950s Czechoslovakia." Journal of Screenwriting 11, no. 1 (March 1, 2020): 7–26. http://dx.doi.org/10.1386/josc_00010_1.

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In the nationalized Czechoslovak film industry, between 1952 and 1956, eight very rare three-column screenplays appeared. The historical evidence of this different screenplay format has been overlooked by historians up to now. Three-column screenplays are not just a dead end of screenwriting practice; they can also be read as evidence of basic tendencies within the Czechoslovak film industry in the 1950s. One effect of nationalization of the film industry was the attempt to standardize the organization of script development. The administrative intervention caused the modification of the script format, but instead of standardization, the effect was a multitude of formats, of which the three-column technical screenplays were a by-product. In this article I read these three-column screenplays within the industry context of the first half of the 1950s in Czechoslovakia and offer an in-depth analysis of particular three-column screenplays.1
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Copier, Laura. "Reanimating Saint Paul: From the Literary to the Cinematographic Stage." Biblical Interpretation 27, no. 4-5 (November 13, 2019): 533–48. http://dx.doi.org/10.1163/15685152-02745p05.

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AbstractIn several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, “a work complete and finished in itself.” In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini’s writings on the ontological status of the screenplay as a “structure that wants to be another structure.” The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Despite this, Pasolini argues that the screenplay invites – or perhaps even forces – its reader to imagine, to visualize, the film it describes. Pasolini’s ideas on the function of language as a means to conjure up images are central to this act of visualization. In the second part of this essay, I will attempt an act of visualization. This endeavor to visualize Saint Paul as a possible film is hinged upon a careful reading of the screenplay. I analyze the opening and closing sequences outlined in the screenplay to visualize the possible filmic expression of its protagonist Paul.
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Simonton, Dean Keith. "Film as Art versus Film as Business: Differential Correlates of Screenplay Characteristics." Empirical Studies of the Arts 23, no. 2 (July 2005): 93–117. http://dx.doi.org/10.2190/dm5y-fhem-cxqt-uexw.

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This investigation determined whether certain screenplay features can differentiate films directed toward artistic expression from those aimed at financial gain. The sample consisted of 1436 English-language, narrative films released between 1968 and 2002. The variables included 4 economic indicators, 5 movie award assessments, 2 composite critical evaluations, and 24 screenplay characteristics. A subset of those characteristics distinguished film as art from film as business. In particular, the two types could be distinguished according to the impact of sequels, adaptations (e.g., from plays), writer-directors (or “Auteurs”), genre (viz., dramas), and MPAA ratings (especially Restricted). These contrasts help explain why budget and box office variables fail to correlate with the most important movie awards and are even negatively correlated with critical acclaim.
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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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Mariniello, Silvestra. "St. Paul : The Unmade Movie." Cinémas 9, no. 2-3 (October 26, 2007): 67–84. http://dx.doi.org/10.7202/024787ar.

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ABSTRACT This essay addresses the notion of "screenplay" elaborated by the film director Pier Paolo Pasolini, in his essay "The Screenplay as a 'Structure That Wants to be Another Structure'," with reference to his Project for a Film of St. Paul. Pasolini's St. Paul, which would have transposed the story of the apostle into our own day, by situating it in New York (Rome), Paris (Jerusalem), present day Rome (Athens), and London (Alexandria), never made it to film. The project, however, gives the whole of Pasolini's cinematographic poetic in condensed form; it is a text which inhabits, in a critical and self-conscious way, the space between writing and film which is proper to the screenplay. The aim of this essay is to show the movement, the play of allusions and references, that form the very basis of the cinematographic screenplay.
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Kapetanović, Amir. "“Kaya” from Novella to Film." Colloquia Humanistica, no. 7 (December 18, 2018): 135–52. http://dx.doi.org/10.11649/ch.2018.008.

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Kaya from Novella to FilmThis paper analyses the transformation of K. Quien's novella Kaya into a screenplay adaptation and a film of the same name by eminent Croatian director Vatroslav Mimica. The analysis points out both significant characteristics of the transformation of the text and the transformation of the portrayed Mediterranean urban area (a crime in Trogir), as well as the linguistic stylisation of the characters' Trogir dialect, which contributes to the atmosphere of the film. Discussion of this film has so far only unfolded on the basis of a comparison of Quien's novella and Mimica's film. This analysis thus contributes important information about the structural and narrative characteristics of the unpublished screenplay, which sheds more light on the paths towards the creation of this Croatian film,which is considered V. Mimica's best work and one of the best Croatian films. Kaya, od noweli do filmuW artykule analizowane jest przekształcenie noweli Kaya, zabiję cię K. Quiena w scenariusz adaptacji filmowej, a następnie w film pod tym samym tytułem, nakręcony przez wybitnego chorwackiego reżysera Vatroslava Mimicę. Analiza skupia się na dwóch kwestiach. Po pierwsze, dotyczy przekształcenia tekstu i obrazu przestrzeni śródziemnomorskiego miasteczka (Trogiru). Po drugie, omawiana jest stylizacja językowa, wykorzystanie cech dialektu trogirskiego, przyczyniające się do stworzenia atmosfery filmu. Dotychczasowa dyskusja o filmie jedynie powierzchownie dotykała związków z nowelą Quiena na poziomie porównawczym. Niniejszy artykuł przynosi ważne informacje o strukturalnych i narracyjnych cechach niepublikowanego dotąd scenariusza, co rzuca nowe światło na proces tworzenia filmu, uznawanego za najwybitniejsze dzieło Mimicy i jeden z najlepszych chorwackich filmów w ogóle. Kaya, od novele do filmaU ovom radu analizira se transformacija novele K. Quiena Kaja, ubit ću te preko scenarističke adaptacije u istoimeni film istaknutoga hrvatskoga redatelja Vatroslava Mimice. U analizi se ističu ne samo bitne značajke transformacije teksta nego i transformacija predočene mediteranske urbane sredine (zločin u Trogiru) te jezična stilizacija trogirskoga govora likova, koji doprinosi ambijentalnom ugođaju filma. Do sada se o filmu raspravljalo samo na temelju usporedbe Quienove novele i Mimičina filmskoga ostvarenja, pa ova analiza donosi neke važne podatke o strukturnim i narativnim značajkama neobjavljenoga scenarija, čime se jače osvjetljavaju putovi kreacije toga hrvatskoga filma, koji se smatra najboljim redateljskim ostvarenjem V. Mimice i jednim od najboljih hrvatskih filmova.
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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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Dissertations / Theses on the topic "Film screenplay"

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Hong, Ki Myung. "Exegesis and screenplay for a film entitled: White Magnolia." Click here to access this resource online, 2009. http://hdl.handle.net/10292/790.

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Most new migrants choose New Zealand as their second home country because New Zealand provides peaceful, safe and relaxed life style and also quality education compared to their homelands. However, for most migrants, settling down in New Zealand is one of the most dynamic and complex processes in their lives. Many migrants are struggling to adjust to New Zealand because the expression of cultural values is different in New Zealand than in their cultures. As migrants adjust to the new culture, their traditional cultural values are increasingly challenged by New Zealand cultural values leading to some degree of personal change. As a result, most immigrants encounter many unfamiliar cultural values in the initial stage of immigration to a New Zealand culture. This story is about the impact of culture-shock on an ordinary Korean migrant family and their struggle adjusting in a new society.
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Raymond, Mark C. "Going In circles." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1938.

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Bachmann, Holger. "Arthur Schnitzler's Der junge Medardus as drama, screenplay and film." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627305.

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Gladman, Matthew J. "Film Noir--Purveyor of Cold War Anxiety." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1293817877.

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Fiskaa, Sverre, and n/a. "Road Maps - Navigating the Road Movie." RMIT University. Creative Writing, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080627.154735.

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This Master of Arts project in Creative Writing was submitted to the School of Creative Media at Royal Melbourne University of Technology. It contains a full length feature screenplay for an un-produced road movie entitled Free Radicals. It is primarily a dark love story between the drug-addicted rent boy Roman and the budding actor, the protagonist Jonathan. It is however written in a conventional structure familiar to Hollywood professionals, and a good deal of humour is used to attract interest in the story. The storyline itself is more familiar to the audience of road movies and independent features in the US or European Art House ventures. The exegesis explores the history and the conventions of the road movie genre, in addition to the established and not often debated conventions of screenwriting theory. The thesis attempts to show how these theories were applied to the screenplay and how they influenced the process of writing it within an academic and commercial context. The MA project shows how different expectations may create a conflict in the personal writing process and inspire a product that makes compromises. The reason for reading this project may not only be the product itself but also the insight it offers into a screenwriting profession where it is often important to meet expectations.
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Crittenden, Nicholas. "The generative image : visual screenwriting and the substance of screenplay structure." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368359.

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Zolliecoffer, James. "The Oracle." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/129.

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Lang, Steven. "Victorious Architecture : the changing shape of narrative in film." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15929/.

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Screenplay: A wealthy industrialist, Victor Sanderton, has undergone a life change and set up an 'Institute of Higher Learning' in rural South East Queensland. He invites environmental and other contemporary New Age luminaries to hold workshops, while the attendees get in touch with their roots by planting trees. Victor, however, has not come to terms with his own weaknesses. Aleesha, a young runaway, distracts him from his higher purpose. Matt, one of his employees, thinks he sees in this an opportunity to enrich himself at Victor's expense. The situation is further complicated when a private detective, Helen Cox, is employed by Aleesha's mother to search for her. Logline: The ones who think they're strong are most at risk. Exegesis: While the narrative structures employed in the novel form have developed freely over the last century, in mainstream film they have remained relatively static. Even though film is predominantly a visual medium, and therefore suffers from an inherent shallowness, more complex narrative models can present opportunities for film to better mirror the human condition.
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Blackman, David, and dablack2@bigpond net au. "An exploration of the psychological and political dimensions of violence and aggression within the war film genre." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.121457.

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Parade's End, a screenplay accompanied by an exegesis exploring institutional and ideological violence within the war film genre. The problem to solve with my exegesis and subsequent screenplay was how to create a unique visual form for the treatment of violence. This was done by examining screenwriting techniques that have been used to explore the psychology of violence and aggression within the war film genre. I identified and examined those techniques used to depict vioence within the war film genre, specifically those discussed by film theorist Stephen Prince. Stephen Prince in Savage cinema: Sam Peckinpah and the rise of ultraviolent movies in America examines the cultural and subsequent technical shifts that occurred in the late sixties towards the treatment of violence in contemporary cinema. He focuses on specific techniques that he believes radicalised the depiction of vioence and its aftermath in the cinematic form. In Visions of empire: political image ry in contemporary American film, Prince examines those techniques that he believed explored the political dimensions of violence. A primary consideration of my research then was how to integrate the techniques under discussion in ways that will help create a convincing form the for depiction of violence for a contemporary screen audience. A major outcome of my investigation and exploration of Prince's techniques, was to sustain within my screenplay the audience's gaze at a disturbing mirror, and probe an audience's ambivalent response to contemporary social currents. Through the demystification of the Special Forces soldier, it was my intention to depict vioence and aggression in striking and original ways.
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Ahmanson, Christus. "Unrelenting Force." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1254.

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The following is an original screenplay about Maturity set in the mode of a Summer Romance. It is structured like the classic Joseph Campbell Monomyth. However, it offers a commentary on the unchanging nature of people by utilizing non-linear storytelling and inverting the typical hero’s journey narrative by having the protagonist end up, more or less, where he began. Key moments and story beats are taken from classic hero’s journeys and refashioned to fit the scale and time periods. Collin Williams does not cross the threshold into a magical new land but instead into the fantastical realm of Rock and Roll, he does not vanquish his foe by the sword, and he does not save a beautiful maiden, but the story is structured so that these events are adapted into their more logical real world parallels. All the while he is tempted by his love interest Liz and belittled by the “too cool for school” Billy James. Characters are molded from universal archetypes including the sage, jester, warrior, and king. Each has an arc that illuminates how these one dimensional approaches to life come into conflict with maturity. The screenplay takes advantage of the multi-tiered method of storytelling unique to cinema through heavy and deliberate inclusion of specific sounds and music. Repeated visual motifs and symbols also feature prominently with references to other revered journeys of self discovery and lifestyle philosophies.
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Books on the topic "Film screenplay"

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Levien, David. Rounders: A screenplay. New York: Hyperion, 1998.

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Nugent, Frank S. Wagonmaster: Screenplay. New York: Frederick Ungar, 1985.

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Traffic: Screenplay. London: Faber, 2001.

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Linklater, Richard. Before sunrise: Screenplay. New York: Vintage, 2005.

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1741-1803, Laclos Choderlos de, ed. Dangerous liaisons: The film : a screenplay. London ; Boston: Faber and Faber, 1989.

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Writing the screenplay: TV and film. Belmont, Calif: Wadsworth Pub. Co., 1988.

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Salvador, Shaira Mella. Tanging yaman: The film book : screenplay. Pasig City: Published by Anvil Pub. Inc. in cooperation with ABS-CBN Consumer Products, Inc. and Star Cinema, 2001.

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Murphy, Terence Patrick. From Fairy Tale to Film Screenplay. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037.

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Michael Collins: Screenplay and film diary. London: Vintage, 1996.

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Michael Collins: Screenplay and film diary. New York: Plume, 1996.

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Book chapters on the topic "Film screenplay"

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Price, Steven. "The Silent Film Script in Europe." In A History of the Screenplay, 99–119. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137315700_6.

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Nannicelli, Ted. "What Is a Screenplay?" In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 215–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_10.

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Price, Steven. "Copyright Law, Theatre and Early Film Writing." In A History of the Screenplay, 36–51. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137315700_3.

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Murphy, Terence Patrick. "From the Hollywood Paradigm to the Proppian Plot Genotype." In From Fairy Tale to Film Screenplay, 1–8. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_1.

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Murphy, Terence Patrick. "The Puss-in-Boots Genotype in The Mask (1994)." In From Fairy Tale to Film Screenplay, 111–43. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_10.

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Murphy, Terence Patrick. "The Little Red Riding Hood Genotype." In From Fairy Tale to Film Screenplay, 144–50. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_11.

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Murphy, Terence Patrick. "The Little Red Riding Hood Genotype in Psycho (1960)." In From Fairy Tale to Film Screenplay, 151–71. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_12.

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Murphy, Terence Patrick. "Conclusion." In From Fairy Tale to Film Screenplay, 172–76. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_13.

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Murphy, Terence Patrick. "Vladimir Propp’s Functional Analysis of the Fairy Tale." In From Fairy Tale to Film Screenplay, 9–15. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_2.

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Murphy, Terence Patrick. "A Functional Analysis of Charles Perrault’s Cinderella." In From Fairy Tale to Film Screenplay, 16–26. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137552037_3.

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Conference papers on the topic "Film screenplay"

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Nakano, Yusuke, Hiroaki Ohshima, and Yusuke Yamamoto. "Film Genre Prediction Based on Film Content and Screenplay Structure." In iiWAS2019: The 21st International Conference on Information Integration and Web-based Applications & Services. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3366030.3366100.

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