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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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Piotrowska, Agnieszka. "Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise?" Journal of Screenwriting 11, no. 3 (September 1, 2020): 287–302. http://dx.doi.org/10.1386/josc_00034_1.
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This article focuses on the Zimbabwean film Neria (1992), arguably one of the most important films in the history of sub-Saharan Africa. Directed by the Black Zimbabwean Godwin Mawuru, it was the first feminist film in Zimbabwe and in the region, highlighting the plight of women who become the property of their brothers-in-law after their husbands die. The article addresses the issues of the origins of the story and the authorship of the screenplay. On the final reel of the film, the story credit names the accomplished Zimbabwean female novelist, Tsitsi Dangarembga; while the screenplay credit names Louise Riber. Riber served as the film’s White American editor and co-producer who, with her husband John Riber, managed the Media for Development Fund in Zimbabwe. The key question of this article is simple: who wrote the screenplay for Neria? Through the physical and metaphorical journey of this research, we discover that the story is based on the personal experiences of Anna Mawuru, the director’s mother. This is the first time that this fact has surfaced. As such, this article also offers some reflections on issues of adaption/translation, particularly in the context of postcolonial collaborations.
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Dancu, Elena, Samuel Gibson, Pau Guinart, Mariana de Heredia, Victoria Saramago, and Tom Winterbottom. "Whisky: Reading a Film, Watching a Screenplay." Nuevo Texto Crítico 26, no. 49-50 (2013): 213–22. http://dx.doi.org/10.1353/ntc.2013.0012.
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MARTIANOVA, Irina. "Film and television series: a different screenplay?" International Journal of Cultural Research, no. 1 (2021): 29–39. http://dx.doi.org/10.52173/2079-1100_2021_1_29.
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Langdon-Teclaw, Jennifer. "Negotiating the Studio System: Adrian Scott and the Politics of Anti-Fascism in Cornered." Film Studies 7, no. 1 (2005): 16–31. http://dx.doi.org/10.7227/fs.7.4.
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Drawing on internal studio correspondence, multiple screenplay drafts and the final film, this essay reconstructs the production history of Cornered to explore the ways in which Scott both compromised with and challenged the studios expectations and interventions. I argue that although Ceplair and Englund are correct in their assessment that studio meddling shaped the films political content in significant ways, Scotts complex negotiations during the films production ensured that Cornered remained a powerfully anti-fascist film.
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Welch, Rosanne. "Honey, You Know I Can’t Hear You When You Aren’t in the Room." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 69–78. http://dx.doi.org/10.31165/nk.2017.102.509.
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The need for more diversity in Hollywood films and television is currently being debated by scholars and content makers alike, but where is the proof that more diverse writers will create more diverse material? Since all forms of art are subjective, there is no perfect way to prove the importance of having female writers in the room except through samples of qualitative case studies of various female writers across the history of film. By studying the writing of several female screenwriters – personal correspondence, interviews and their writing for the screen – this paper will begin to prove that having a female voice in the room has made a difference in several prominent films. It will further hypothesise that greater representation can only create greater opportunity for more female stories and voices to be heard.
Research for my PhD dissertation ‘Married: With Screenplay’ involved the work of several prominent female screenwriters across the first century of filmmaking, including Anita Loos, Dorothy Parker, Frances Goodrich and Joan Didion. In all of their memoirs and other writings about working on screenplays, each mentioned the importance of (often) being the lone woman in the room during pitches and during the development of a screenplay. Goodrich summarised all their experiences concisely when she wrote, ‘I’m always the only woman working on the picture and I hold the fate of the women [characters] in my hand… I’ll fight for what the gal will or will not do, and I can be completely unfeminine about it.’ Also, the rise of female directors, such as Barbra Streisand or female production executives, such as Kathleen Kennedy, prove that one of the greatest assets to having a female voice in the room is the ability to invite other women inside. Therefore, this paper contributes to the scholarship on women in film and to authorship studies.
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Krasina, Elena A., Eugeniy S. Rybinok, and Alia Moctar. "Film Naming: Book Titles and Film Titles." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 330–40. http://dx.doi.org/10.22363/2313-2299-2020-11-2-330-340.
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The studies of a film text as a polycoded textual phenomena involve the studies of its integral components, such as film story and screenplay, reflecting storyline or plot of a literary text that serves as a precedential text to filming and as an immediate constituent of a film itself. Film title combines the features of a book or story title and functions as a precedential phenomenon as well, but is an integral part of the process of film promotion and release, and in cinematographic sphere it’s of crucial importance. In fact, the original book or story titles used to change especially with time and audience involved, when filming remaking changes to TV series and miniseries, or films are followed by sequels and prequels so that not to make something like Jaws 3 or Indiana Jones 5 . Anyhow, most of film titles fully repeat or at least conserve the title of a literary text, still it’s often amplified to make difference or to emphasize the idea that the screenplay is a new one just the story to be continued, e.g., Jaws-3D: The Revenge. Not very often the changes are marked graphically as of Romeo + Juliet or Romeo & Julie t, so that to hint a new turnoff the plot to the audience. It’s obvious that film titles often use names of main characters either for series or episode titles or to form a film franchise like that of Jurassic Park or Indiana Jones ones. As people started to use different IT gadgets they used to read books less and less, and film stories tend to make a new book form when a book is no longer a precedent to a film. Thus the cycle of “book title → film title” was completed by a part of “film title → book title (or book itself” to reflect the reverse trend, which is known worldwide.
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Gurina, EKATERINA. "“ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY." Journal of Education Culture and Society 9, no. 2 (September 5, 2018): 218–25. http://dx.doi.org/10.15503/jecs20182.218.225.
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Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance.
Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production.
Results. The analysis shows that Konstantin Levin’s function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the influence of the film director during the film production.
Conclusions. Even though the study considers the texts that are closely interrelated, the individual author’s stance influences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word.
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Bandosz, Benjamin. "Potentialities of Post-Media: Networks of Resistance and Subjugation in Félix Guattari's A Love of UIQ." Deleuze and Guattari Studies 15, no. 1 (February 2021): 117–39. http://dx.doi.org/10.3366/dlgs.2021.0422.
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Félix Guattari's theoretical and practical interests in cinema culminated in the film project A Love of UIQ. While critics have concentrated on the sci-fi screenplay's elements of minor cinema, its themes of mass media, emerging computer technologies and informatic-communication networks particularly express Guattari's concept of post-media. The screenplay is an aesthetic meditation on the potentialities of post-media, a concept that anticipates the practical and theoretical issues surrounding the age of the Internet. A Love of UIQ voices Guattari's ambivalence towards the liberatory possibilities of network technologies that are at constant risk of capitalist recapture.
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Sadeqy, Shahryar, and Masoud Naghashzadeh. "Theme orientation and the inevitable outcome of structural flaws: Investigating the results of the dominance of theme over action in Farhadi’s The Salesman." Journal of Screenwriting 12, no. 2 (June 1, 2021): 165–78. http://dx.doi.org/10.1386/josc_00058_1.
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In this article, we discuss the importance of unity in the feature film script and the mechanism of its development based on the two elements of dramatic action and theme. We investigate the consequences of prioritizing theme over the action on the foundation of the dramatic structure of the screenplay, considering one of the most famous Iranian films, Asghar Farhadi’s The Salesman (2016), the winner of the best screenplay at the 2016 Cannes Film Festival. In any form of drama, the chain of actions leads to a specific theme, and the theme in turn directs this chain. Therefore, to create an organic structure, the balanced development of action and theme is essential. Manipulating this balance in favour of highlighting the theme, and understanding the chain of actions based on the theme weakens the logical relationship of the actions as well as the dramatic structure, ultimately turning some actions into redundancies that can be eliminated. The study shows that in The Salesman’s screenplay, through prioritizing the theme over the action and disrupting the natural process of perceiving the theme from the chain of actions, a structure is created in which the presence of some actions are only justified by referring to the theme. Therefore, a number of events/scenes in the screenplay can be omitted without interfering with the unity of the narrative and the formation and expression of the theme. As a result, prioritizing the theme over the action in the foundation of the script inevitably leads to a flawed structure.
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Shaw, John. "Court of Appeal clarifies joint authorship criteria under UK copyright law." Journal of Intellectual Property Law & Practice 15, no. 1 (December 10, 2019): 7–9. http://dx.doi.org/10.1093/jiplp/jpz158.
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Abstract Julia Kogan v (1) Nicholas Martin (2) Big Hat Stories Limited (3) Florence Film Limited (4) Pathe Productions Limited (5) Qwerty Films Limited [2019] EWCA Civ 1645 The dispute between Ms Kogan and Mr Martin (and various film companies) regarding the authorship (or joint authorship) of the screenplay for the film depicting socialite Florence Foster Jenkins has been granted a retrial following a decision by the Court of Appeal that included an explanation of the criteria for joint authorship under UK law.
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McInerny, Daniel. "Internal Needs, Endoxa and the Truth: An Aristotelian Approach to the Popular Screenplay." Film-Philosophy 17, no. 1 (December 2013): 281–95. http://dx.doi.org/10.3366/film.2013.0016.
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Nguyen, Nick, Bart Beaty, and Pascal Lefèvre. "Film and Book Reviews." European Comic Art 5, no. 1 (July 1, 2012): 108–17. http://dx.doi.org/10.3167/eca.2012.050107.
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FILM REVIEWSThe Adventures of Tintin: The Secret of the Unicorn (20ıı), directed by Steven Spielberg, produced by Peter Jackson, screenplay by Stephen Moffat, Joe Cornish and Edgar Wright. Based on Hergé’s Aventures de TintinBOOK REVIEWSHarry Morgan and Manuel Hirtz, Les Apocalypses de Jack Kirby Jacques Samson and Benoît Peeters, Chris Ware: La Bande dessinée réinventée Renaud Chavanne, Composition de la bande dessinée
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Marubbio, M. Elise. "Settler Colonial Disease and Dis-Ease in August: Osage County." Zeitschrift für Anglistik und Amerikanistik 68, no. 1 (March 26, 2020): 67–78. http://dx.doi.org/10.1515/zaa-2020-0007.
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AbstractTracy Letts’s screenplay, August: Osage County (2013), and John Wells’s film adaptation (2013) offer a compelling critique of American racism towards Native Americans which demands that viewers consider their own inculcation into ongoing settler-nation colonialism. The film layers the history of place (Oklahoma) with the Cheyenne character Johnna, whose Indigenous heritage is negotiated throughout by liberal academics, conservative rural matriarchs, and Johnna herself. The role is small but essential to the film’s allegorical analysis of settler-colonialism and racism. The Weston family’s secrets, addictions, and dysfunction starkly contrast with Johnna’s health and stability. Through Johnna, the film questions the toll colonialism takes on the mental and physical health of the American people. This paper analyzes the metanarrative association of the Weston family’s dysfunction and racism with ongoing colonialism that results in disease of the settler-colonial space as it emerges in the screenplay and film.
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Lowry, LeeAnne. "The Modernist Screenplay: Experimental Writing for the Silent Film, Alexandra Ksenofontova (2020)." Journal of Screenwriting 12, no. 2 (June 1, 2021): 246–47. http://dx.doi.org/10.1386/josc_00063_5.
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Review of: The Modernist Screenplay: Experimental Writing for the Silent Film, Alexandra Ksenofontova (2020)Cham: Springer International Publishing AG, 249 pp.,ISBN 978-3-03050-589-9, h/bk, USD 109.99
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Ogudov, S. A. "Narrative Distance in Screenplay: “The Heir to Genghis Khan” by Vsevolod Pudovkin." Critique and Semiotics 39, no. 1 (2021): 383–402. http://dx.doi.org/10.25205/2307-1737-2021-1-383-402.
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The article is devoted to the narratological analysis of a screenplay. A distance between a narrator and a story world that constitutes a narrative is studied in regard to a conception of screenplay not as an autonomous literary work but as a series of texts corresponding to various stages of preparation for a film shooting (in our case a libretto, a literary script and a shooting script). The comparison of the literary script and the shooting script of the film “The Heir to Genghis Khan” written respectively by Osip Brik and Vsevolod Pudovkin reveals the shift of the narrative distance, that determined the way the events were shown. During the transition from the literary script to the shooting script the narrative distance is decreased due to the director’s idea on the film and also due the industrial context of filmmaking.
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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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Aichele, George. "Pasolini’s Pauls." Biblical Interpretation 27, no. 4-5 (November 13, 2019): 496–506. http://dx.doi.org/10.1163/15685152-02745p02.
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AbstractBecause Pier Paolo Pasolini never completed his movie Saint Paul, any discussion of it must be speculative. However, insofar as the film appears in Pasolini’s screenplay outline and plan, it depicts Paul, in relation to the Pauline writings of the Bible, as a seriously fragmented person. This Paul struggles with multiple personalities that are continually fragmenting and at war with one another. In this way the film fuses together in a single cinematic narrative the many “Pauls” who appear in the Pauline letters and the Acts of the Apostles. The “remixed” quality that then appears in the screenplay contrasts sharply to Pasolini’s The Gospel According to St. Matthew. The resulting story echoes some of the writings of Italo Calvino, as well as Spike Jonze’s movie Adaptation.
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Nikoriak, Nataliia. "Text on the Culturological Border: the Cinemanovel “The Red. Without a Front Line” by A. Kokotiukha." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 164–94. http://dx.doi.org/10.31861/pytlit2020.102.164.
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The article under studies reveals the terminological polymodality of the concept of “cinemanovel” as a screened novel; film genre; an original narrative work that tends to a screenplay; literary text written on the basis of the film and the screenplay to it (film “novelization”). An overview of modern theoretical and practical discourse of the cinemanovel genre is presented in the paper. It has been emphasized that some researchers try to find out the origins of this genre by analyzing the samples in a comparative and intermediate way, while others focus on clarifying the specifics of individual novels, concluding on the synthetic and hybrid nature of this genre. In particular, in this aspect, the cinemanovel-prequel by A. Kokotiukha “The Red. Without a Front Line” (2019) has been analyzed. This text, based on a film screenplay, appears to be a rather complex construct that acquires a double coding – cinematic and literary – hence the genre of the novel (as a product of the synthesis of two arts) contains the key features of both. On the one hand, we have to deal with the preservation of the cinematic codes that pass from the screenplay: fragmentation, word visualization, documentalism, eventfulness, editing, alternation of angles and plans, time reduction, dialogues, character formation in action, characterization through speech, conciseness of phrases in certain scenes to create the effect of maximum tension, image condensation, accumulation of internal tension in the episode. On the other hand (as a result of the so-called “novelization”), the text acquires genre features of the novel. These are: the scale of the narration (although fragmented and condensed), the description of characters’ lives is presented in line with historical events, with the disclosure of their psychology and inner world. Finally, the work is also marked with specifically architectonic, i.e. the author connects his cinemanovels together by means of a plot, the main character and a general artistic idea.
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Senger, Heinz, and B. M. Lynn Archer. "Exploring "Sounder": The Novel, the Screenplay, and the Film." English Journal 78, no. 8 (December 1989): 48. http://dx.doi.org/10.2307/819485.
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Zhang, Weixiao. "The Life and Times of Lilian Lee: An Analysis of Lee's Screenplays From Psychological and Stylistic Perspectives." Asian Journal of Social Science Studies 5, no. 1 (February 4, 2020): 32. http://dx.doi.org/10.20849/ajsss.v5i1.728.
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Lilian Lee, a novelist and screenwriter, is a prominent figure in the Hong Kong film industry and literary circles. Her unique writing style has earned her wide acclaim. Most of her works feature romances, fantasies or mysteries, showing her creative imagination. However, she didn't let love stories and supernatural elements overshadow the full picture she depicted. Instead, she further explored themes such as gender identity, sexual orientation and feminism, and dug deeper into a broad range of topics including mortality, fatality, history and patriotism. She revealed the complexity of human nature and the inner conflicts her characters underwent through incisive remarks and heart-rending stories. Her best-known works include Farewell My Concubine, Green Snake, Rouge and Kawashima Yoshiko, all of which are considered masterpieces, representing a milestone in the history of Asian cinema. Farewell My Concubine remains the only Chinese-language film to win both the Palme d'Or at the Cannes Film Festival and the Golden Globe Award for Best Foreign Language Film. It was included in Time's list of "All-Time" 100 Movies in 2005. Rouge had 16 nominations and awards at the Hong Kong Film Awards and the Taipei Golden Horse Film Festival. It also earned Lee the Hong Kong Film Award for Best Screenplay. The critical and commercial success of these films is largely attributed to Lee's screenwriting, and the success of her screenwriting rests on her relatively fixed writing mindset. This article focuses on screenplays written by Lilian Lee and analyzes her construction of plot, narrative techniques and her writing mindset and style, by exploring the influence of her personal experience, aesthetic preference, writing habits, and her cultural, social and educational background on her works.
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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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Ings, Welby. "Renegotiating the screenplay: Drawing as a method for narrative development in a short film." Journal of Screenwriting 12, no. 2 (June 1, 2021): 151–63. http://dx.doi.org/10.1386/josc_00057_1.
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This article considers a non-written form of screenplay. In so doing, it illustrates a trajectory of thinking where drawing methods were employed in the development of a cinematic narrative. These visual approaches replaced creative processing normally associated with writing. In discussing the author’s short film Sparrow, the exposition examines three processes. The first method, gestational drawing, was employed as a ‘story finding’ device. The second, immersive drawing, was used to refine thematic intensity in the work. Finally, directorial drawing was employed as a catalyst for discussion when collaborating with actors and production crew. In discussing these drawing methods, the article proposes the concept of ‘screenplay’ as a verb and an active space where a developer of cinematic narratives might work beyond the parameters of writing, to ideate, refine and artistically compose image-led, cinematic narratives.
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Crockett, Amy. "From Fairy Tale to Film Screenplay: Working with Plot Genotypes." Folklore 128, no. 1 (January 2, 2017): 105–6. http://dx.doi.org/10.1080/0015587x.2016.1220585.
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Ksenofontova, Alexandra. "The screenplay/film relationship bifurcated: Reading Carl Mayer’s Sylvester (1924)." Journal of Screenwriting 9, no. 1 (March 1, 2018): 25–39. http://dx.doi.org/10.1386/josc.9.1.25_1.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Park, Douglas, and Dawn Dietrich. "In the Cut." Film Quarterly 58, no. 4 (2005): 39–46. http://dx.doi.org/10.1525/fq.2005.58.4.39.
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Abstract Jane Campion's newest film, In the Cut, confounded critics, as it leaves her familiar territory of Anglo Australia and a high literary mode for New York City and the pop culture associations of a slasher/thriller. Transcending genre, the screenplay and cinematography unconventionally render a psychic landscape of female desire and romantic longing surviving in a male urban wasteland.
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WIERZBICKI, JAMES. "The Hollywood Career of Gershwin's Second Rhapsody." Journal of the American Musicological Society 60, no. 1 (2007): 133–86. http://dx.doi.org/10.1525/jams.2007.60.1.133.
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Abstract Around the time of its premiere in January 1932, George Gershwin's Second Rhapsody for Piano and Orchestra was erroneously described as an “expanded” version of music that had been written specifically for a 1931 Fox film entitled Delicious, and for decades this misinformation has been echoed by Gershwin scholars. In fact, Gershwin put the finishing touches on the Second Rhapsody months before Delicious went into production, and his sketch for what in essence is the complete work was made when the screenplay was still in its embryonic stage. Relying on evidence that includes Gershwin manuscripts, various drafts of the screenplay, the conductor's score that was used for the film's recording sessions, and—importantly—the recently restored film itself, this article seeks to clarify both the chronological and the substantive relationship between the fifteen-minute Second Rhapsody and the film's seven-minute “New York Rhapsody.” Along with offering the first detailed account of the musico-narrative content of the film's “New York Rhapsody” sequence, the article shows that the “New York Rhapsody” is a truncation of the Second Rhapsody engineered not by Gershwin but, probably, by Fox employee Hugo Friedhofer.
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Paijo, Nazirull Safry, and Hassan Abdul Muthalib. "The Green Ray By Eric Rohmer: An Attempt To Find The Real Story." International Journal of Creative Multimedia 2, no. 1 (April 30, 2021): 69–73. http://dx.doi.org/10.33093/ijcm.2021.1.5.
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This paper intends to go below the surface of Eric Rohmer’s 1986 masterpiece, to discover what is really being said in the film. It is but a brief look at the film’s naturalistic approach that carries elements of philosophy while also giving it a psychological touch. It is not too difficult a task as clues to what the film is really about are scattered throughout the screenplay. Eric Rohmer alludes to cinema being an art, eschewing the visual fireworks of commercial cinema and instead explores a character’s imagination and obsession
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Rosado Cubero, Ana. "Gilda: El coste de lanzar un guante a un oligopolista." Studies of Applied Economics 32, no. 1 (March 3, 2020): 247. http://dx.doi.org/10.25115/eea.v32i1.3209.
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Cinema is amazing, even when the sly introduces economic issues. In Gilda, what appears to be a film resource really brings back good research on issues that have nothing to do with the original plot of the film. Why is the chief protagonist tungsten cartel and not another mineral? Why the protagonist is German? Why looked for refuge in Argentina? Throughout the film are going to respond to these questions, but the writer did not intend merely to entertain with a screenplay full of one-liners, he wanted to show how to resolve economic disputes where there is big money at stake, it is not casino game though too.
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Simonton, Dean Keith. "Is Bad Art the opposite of Good Art? Positive versus Negative Cinematic Assessments of 877 Feature Films." Empirical Studies of the Arts 25, no. 2 (July 2007): 143–61. http://dx.doi.org/10.2190/2447-30t2-6088-7752.
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Although some research suggests that negative judgments might be more complex and more potent than positive judgments, cinematic assessments may offer an instance of a genuine bipolar evaluative dimension. This is shown in an analysis of 877 feature films that received positive (Oscars) or negative (Razzie) recognition in the categories of best/worst picture, director, male and female lead, male and female supporting actor, screenplay, and original song (whether nomination or actual award). These assessments were compared with film critic evaluations, financial and box office data, and several relevant cinematic attributes (e.g., literary adaptations, writer-directors, biopics, sequels, remakes, film genres, runtime, and Motion Picture Association of America ratings). Analyses indicated that negative assessments were largely the inverse of positive assessments, with similar weights being assigned to most cinematic attributes. However, the negative judgments were somewhat less consequential regarding those same attributes.
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Szturc, Włodzimierz. "Danton. Wektory interpretacji filmu Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 59–76. http://dx.doi.org/10.14746/pt.2017.27.7.
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In this paper, the author presents the final period of the French Revolution as interpretated by Andrzej Wajda. The screenplay was prepared by Jean-Claude Carrière based on Stanisława Przybyszewska’s drama (also used by Wajda as a screenplay in many dramas). It helped the director to describe the reality of the intense time of Robespierre’s terror and Jacobin efforts to guillotine Danton and his allies. Wajda reveals the same mechanisms of crime, manipulation and lies which became the backdrop for political events in Poland between 1981-1983 (especially with the introduction of martial law in Poland in 1981). The model of Danton’s fall and the strengthening of totalitarian rule are considered the current model of history, which is based on cruelty and the struggle for power. The film forms the basis for a broader view of history as the tragic entanglement of events, which is the result of hubris and the desire for material goods, and is the origin of totalitarian rule. References to the emblems of the revolution, allegories, and the symbolism of art (paintings of David) are the fundamental ekphrasis of meanings set by the film. Wajda’s analysis of Danton shows some typical ways of understanding and interpreting the signs of culture and history.
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Lugea, Jane. "Embedded dialogue and dreams: the worlds and accessibility relations of Inception." Language and Literature: International Journal of Stylistics 22, no. 2 (May 2013): 133–53. http://dx.doi.org/10.1177/0963947013489618.
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In this article, Text World Theory (Gavins, 2007; Werth, 1999) and Ryan’s model of fictional worlds (1991a, 1991b) are both applied to Nolan’s blockbuster film, Inception (2010) to explore the multi-layered architecture of the narrative. The opening two scenes of Nolan’s screenplay are analysed using Text World Theory, with particular attention to the embedded nature of character dialogue, or, more generally, ‘represented discourse’ (Herman, 1993), otherwise known as Direct Speech (Leech and Short, 2007). Based on this analysis, I suggest a modification to the way in which Text World Theory deals with represented discourse, which improves the framework’s applicability to all text types. Moving from the micro-analysis of the screenplay text, to a macro-analysis of the film narrative as a whole, I outline the various different worlds that make up the reality, dream and ‘limbo’ layers in the film, explaining how most of the action takes place at a remove from the world at the centre of the textual system. I use Deictic Shift Theory’s terms PUSH and POP (Galbraith, 1995) to describe the movements between the ontological layers of the narrative and suggest that these terms are better suited to describe hierarchies of ontology rather than horizontal deictic shifts. Ryan’s taxonomy of accessibility relations is used to describe the ways in which the film differs from reality, as well as the ways in which the dreams differ from the internal reality of the film. The complex ontological structure and asymmetric accessibility relations between the worlds are ascribed as the reason for many viewers’ difficulty in processing the film’s narrative. With its attention to discourse-world factors, Text World Theory is then used to account for the myriad of reactions to Inception – as expressed on online discussion forums – which range from engagement and enjoyment to frustration and resistance.
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Huang, Phyllis Yu-ting. "The Returnee as an Outsider: Reunion and Division in Wang Quan’an’s Apart Together (團圓, tuan yuan)." International Journal of Taiwan Studies 4, no. 1 (March 5, 2021): 143–62. http://dx.doi.org/10.1163/24688800-20201179.
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Abstract Mainland Chinese director Wang Quan’an’s Apart Together, which won the Silver Bear Award for Best Screenplay in 2010, tackles the issue of cross-Strait relations by telling the story of Kuomintang veteran Liu Yansheng’s return to mainland China after nearly 40 years of separation from his wife and son. Shanghainese is the main language of the film, a dialect that is used to suggest a local attitude towards the national issue. While earlier Chinese films on similar themes often emphasise the cultural and emotional ties between Taiwan and China, in Wang’s film Liu is characterised as an unwelcome Taiwanese guest, an intruder in his wife’s Chinese family. This essay argues that Wang’s Apart Together contests the People’s Republic of China’s official discourse of cross-Strait reunification by demonstrating the cultural and identity divisions between the Taiwanese character and his Chinese family. Wang provides an alternative perspective on the ‘Taiwan issue’, showing that ordinary people’s experience of cross-Strait reunion might be painful and problematic.
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HEYES, MELVYN P. "Development of a fundamental '19-Sequence Model' of screenplay and narrative film structure." Journal of Screenwriting 3, no. 2 (February 9, 2012): 215–38. http://dx.doi.org/10.1386/josc.3.2.215_1.
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Fusong, Liu. "The Localization Style Design Analysis of Domestic Animation The case study of Scissor Seven." E3S Web of Conferences 236 (2021): 04060. http://dx.doi.org/10.1051/e3sconf/202123604060.
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Scissors Seven as a GuangZhou native animation works has won a large number of fans on the Internet, network playback volume reached 260 million, and in 2018 became the only domestic animation in the Annecy international animation film festival, in 2019,in 2020 Magnolia Award for Best Animated Screenplay at the 26th Shanghai TV Festival became the only domestic animation work award in the past five years.Further more the film became Netflix online products, The Japanese and English versions can be seen in 29 countries and 190 regions .Most of the audiences love this work and gave a good comments. This paper will analyze the visual and auditory elements of the work around the localized style design of the film, so as to obtain the inspiration and thinking of domestic animation design.
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Karenberg, Axel. "Multiple sclerosis on-screen: from disaster to coping." Multiple Sclerosis Journal 14, no. 4 (January 21, 2008): 530–40. http://dx.doi.org/10.1177/1352458507084587.
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Background Fictional portrayals of multiple sclerosis (MS) in film and on television have remained largely unexamined to date. The aim of this review is consequently to catalog and analyse every available film with an MS motif. Method The author has identified relevant productions by means of international film databases and by handsearch. Each film is systematically evaluated along neurological and cinematic lines. Results Between 1941 and 2006 MS appeared as a theme in 23 films. Because screenplay writers often make use of medical knowledge, from a neurological perspective many films present a largely accurate picture of this disease's symptoms. The visual character of the medium and the effects of dramatic composition result in the prominence of certain symptoms. Ataxia, paralysis, blurred vision and fatigue are found in films with the same frequency as in epidemiological studies whereas sensory symptoms, eye movement disorders, incontinence and difficulties with sexual function were underrepresented. These films thematize the effects of MS on patients' self-image, the psychological adaptation process and their relations with proxy in a special way. Parallel with improvements in therapy and changing social attitudes toward the handicapped, these films have progressed from the earlier `disaster' to modern `coping' stories. Conclusion The often life-like portrayal of MS distinguishes these films from the stereotypic representation of other neurological diseases. Because representations of MS in popular media have an immediate effect on an audience of millions, they deserve greater attention from professional neurology. Multiple Sclerosis 2008; 14: 530—540. http://msj.sagepub.com
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Saeger, James Schofield. "The Mission and Historical Missions: Film and the Writing of History." Americas 51, no. 3 (January 1995): 393–415. http://dx.doi.org/10.2307/1008228.
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Because of the power of film, movies with historical themes affect public perceptions of the past more deeply than do scholarly reconstructions. Film makers and historians search for meaning in separate ways, but their quests can converge. Examples of different approaches to similar destinations are found in a newer film and older historical views of Catholic missions in South America. Released in 1986, The Mission, directed by Roland Joffé with a screenplay by Robert Bolt, displays paternalistic attitudes like those of an earlier generation of North American academic historians. The film's voice is a white European distortion of Native American reality. This essay will examine that voice, offer alternative explanations of historical events, and suggest a research agenda for future study of the Guarani missions of Paraguay, often mentioned in surveys but seldom studied by North American historians.
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Zajdel, Jakub. "Sylwester Chęciński w labiryncie decyzji produkcyjnych filmu o Szarych Szeregach." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 101–12. http://dx.doi.org/10.19195/0860-6668.22.3.9.
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Sylwester Chęciński in the maze of film production decisions about the Szare SzeregiThe author describes press reports on the preparations of Sylwester Chęciński for the film about scouts from Szare Szeregi. The scenario was based on a bestseller written by Aleksander Kamiński entitled Kamienie na szaniec Stones for the earthwork. Although the press assured that Sylwester Chęciński had already started working, the film was produced only eight years later, and the director was Jan Łomnicki. An interesting topic of these considerations are personal relationships. Andrzej Wajda was working on the screenplay for Kaminski’s book with Valentin Jeżow. In turn, the movie Agnieszka 46, directed by Sylwester Chęciński, was severely attacked by Zbigniew Załuski. Valentin Jeżow and Zbigniew Załuski became screenwriters for the film Legenda Legend directed by Sylwester Chęciński. It is not clear from the press notes whether Sylwester Chęciński stopped the preparations for the film about the Szare Szeregi for this cooperation or was forced to abandon them for the Polish-Soviet co-production.
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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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Krajewska, Anna. "Dramatyczne przestrzenie Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 7–10. http://dx.doi.org/10.14746/pt.2017.27.0.
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This editorial is an impressionistic work on Andrzej Wajda’s output, predominantly emphasising its dramatic nature. The text presents the uniqueness of Andrzej Wajda’s creative work in such diverse forms of art as if they were one – his painting metamorphosed into film, drawing into screenplay, urban space into a theatre stage. Wajda is seen here not only as a director, but also as a contemporary dramatist, who creates the dramatic space of history’s traps, who dramatises the fate of the individual, and who interprets the drama of the philosophical stage.