Relevant bibliographies by topics / Screenplay structure

Contents

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

Academic literature on the topic 'Screenplay structure'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Screenplay structure"

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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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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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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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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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Pasolini, Pier Paolo. "THE SCREENPLAY AS A “STRUCTURE THAT WANTS TO BE ANOTHER STRUCTURE”." American Journal of Semiotics 4, no. 1 (1986): 53–72. http://dx.doi.org/10.5840/ajs198641/28.

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Hidayati, Nani. "APPRAISAL ANALYSIS IN FREEDOM WRITERS MOVIE." EduLite: Journal of English Education, Literature and Culture 2, no. 1 (February 13, 2017): 317. http://dx.doi.org/10.30659/e.2.1.317-333.

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This study attempts to find out conveyed messages in the movie from the realization of the appraisal and narrative structure as well as to describe the use of the Appraisal System to express LaGravenese's (a) Attitudes, (b)Engagement & (c) Graduation towards the main characters in Freedom Writers movie screenplay. Using both quantitative and qualitative descriptive approach for discourse appraisal system analysis, the result of this study reveals several messages of tolerance, earning respect and trust, honor diversity, and striving for success and trust from the realization of Appraisal and Narrative Structure either in the dialogues or monologues of Freedom Writers� characters. The result from the Appraisal Devices realizing (a) Attitudes reveals that LaGravenese likes to express characters� negative emotion explicitly than implicitly. He likes to express characters� negative capability than other kinds of Judgments. He appreciates the characters using more Negative Value which denotes that in his opinion, they see each other negatively. (b)Engagement used in the screenplay describes that he emphasizes more on characters� denial towards each other�s opinion and existence with the use of more Disclaim Heterogloss in the screenplay. (c)Graduation used in the screenplay describes that the use of more Sharpening Focus indicates he emphasizes on characters� category boundary more than scaling of intensity.Keywords: Appraisal Devices, Attitude, Engagement, and Graduation.
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Neilan, Chris. "The power of schism: Unconventional narrative structure in No Country for Old Men." Journal of Screenwriting 13, no. 3 (November 1, 2022): 313–28. http://dx.doi.org/10.1386/josc_00103_1.

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Whilst screenwriting handbooks have popularized and disseminated practical approaches to writing the screenplay and, to a certain extent, demystified and perhaps even democratized the process of screenplay creation and development, they have also solidified a restrictive doxa which delegitimizes unconventional structural approaches and, in doing so, solidifies a homogenized story product which tends to replicate different variations of the same dominant ideology. In this article I argue for a change in focus within screenwriting theory and the development process, towards an understanding of the meaning produced by the conventional model and the meanings that can be produced by alternative models, and away from the replication of the conventional, through an analysis of a particularly unconventional structural schism in the Coen brothers’ .
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Finnegan, John. "The screenplay and the spectator: Exploring audience identification in narrative structure." Journal of Screenwriting 7, no. 3 (September 1, 2016): 319–30. http://dx.doi.org/10.1386/josc.7.3.319_1.

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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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Bystrov, Viacheslav Nikolaevich. "«…THIS PIECE WAS WRITTEN IN ALL BUT ONE SITTING, FAIR-COPY…»: THE CREATIVE HISTORY OF L. N. ANDREEV’S SHORT STORY IN THE BASEMENT." Russkaya literatura 3 (2021): 64–70. http://dx.doi.org/10.31860/0131-6095-2021-3-64-70.

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This article examines the creative history of L. N. Andreev’s story In the Basement. An unpublished original draft is presented. The differences between this text and the main one are outlined. A special emphasis is laid on the substantial changes in plot, structure, semantics (in particular, the motif of a sudden fl eeting enlightenment and the unity of the fallen people), as well as on the altered ending of the story. The author’s screenplay based on the story is briefly described.
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Dissertations / Theses on the topic "Screenplay structure"

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Davison, Brad William. "The Narrative of Flippy Johnson: The Three Act Structure - Criticisms and Alternatives Script and Script Analysis." The University of Waikato, 2006. http://hdl.handle.net/10289/2454.

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In this feature screenplay, I have incorporated the complexities of an intertwining multi-strand narrative, while manipulating the materials of time and space. This has enabled me to begin my exploration into finding a suitable structure in which to tell a story that features a number of characters, all of whom are intended to represent some of human nature's darkest emotions. I have attempted to distinguish my script from the standard three-act structure. However, I do believe it is a fundamental requirement to know all the rules of a classical three-act structure in order to subvert its conventions. The three-act structure has long been a successful model for transmitting a story to the screen. It has provided the basis for many a film where a character triumphs over adversity; where good defeats bad and heroes fall in love. But what about characters that are not heroes? Protagonists who cannot be defined under the even broadest definition of heroism? Can these people thrive within the strict guidelines of a three-act structure, with its strong reliance on a hero's journey? Is there an alternative structure that can deal with these characters, a structure that can incorporate them in a narrative? This MA will attempt to answer these questions, while also investigating if the materials of time and space can be manipulated and understood when working outside the guidelines of a formulaic structure. The materials of time and space are unique to all films and they are both dealt with in different ways by screenwriters and filmmakers alike. Temporal and spatial characteristics have been studied in depth by many critics including, of particular importance to this MA, David Bordwell. Bordwell has used time and space as a way of making sense of narrative and of engaging with a film. This is something that I am attempting to achieve in the following script and commentary. Furthermore, I will try to articulate the manipulation of time and space, with the challenges of multiple strands of narrative and multiple protagonists.
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Neal, Sarah Jane, and sarahneal@myplace net au. "Structuring the Thrill in the True Crime Story: An Analysis of how the substructures of the classic screenplay operate in the Thriller film." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080514.095721.

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The research undertaken as the requirements of the degree is an analysis, evaluation and application of the usefulness of the substructures contained in the classic Thriller screenplay. The research identifies tools and techniques that the screenwriter can apply to the construction of a classically structured Thriller. These tools and techniques have been applied to the creation of an original feature length screenplay entitled Magnetic Fields. The substructures explored in this exegesis are those identified by screen theorist Dr Lisa Dethridge as being essential to the screenplay form, irrespective of genre. They are the premise, protagonist, dramatic problem and plot. The research identifies and defines each of these elements and examines for how they operate in the classic Thriller screenplay. Screen theorist and Thriller genre expert Neill D Hicks provides the theoretical structure for the classic Thriller. A case study, Heavenly Creatures (1994) written by Fran Walsh and Peter Jackson, illustrates the discussion of these substructures. The theories of Dethridge and Hicks are compared and evaluated for their usefulness in the construction of the original screenplay, Magnetic Fields. The story is loosely based on a true crime and the challenge in construction this screenplay was the process of identifying and employing the key conventions and techniques of the Thriller genre. Operating within the conventions of the classic Thriller enables the writer to address the requirements of both industry and audience. The film industry requires that a screenplay adhere to a number of standards relating to its format, length and the organisation of content. The audience, or the reader of the screenplay also has expectations. If a film is labelled a Thriller, the audience expects the story to provoke suspense and fear. They will expect to be thrilled. For the screenwriter to achieve this effect the research aims to prove the benefits of adhering to the structural conventions of the classic Thriller film.
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Saunders, Shahzneen Spencer. "From process to product : structuring the screenplay." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/36332/1/36332_Saunders_1999.pdf.

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The aim of this thesis is to make practical use of film narrative studies and script writing theory in order to research a method of constructing my own film screenplay. This thesis is divided into two major sections, the Process (Section I) and the Product (Section II) . The Process examines historical models of narrative, identifying characteristics of the western narrative construct, and how they relate to film storytelling and contemporary screenwriting. The theoretical underpinnings draw upon the branch of film theory known as narratology. The work undertaken in this section is about understanding the field of screenwriting and what repertoire of narrative devices, strategies and tools are available to an emerging writer. The Product (Section II) is a primary writing project, comprising a treatment for a feature film screenplay. The aim is to test principles of narrative construction and the applicability of certain features of screenplay models discussed in the Process section. The Product is about the process of making decisions and choices from a range of structural possibilities and crafting an original approach and story. A reflection on the creative writing processes concludes the section. The intention of the Product section is not only to produce a successful screenplay treatment but a text suitable for a funding or corrnnissioning program, such as the Pacific Film and Television Corrnnission's New Writers' Scheme, the Australian Film Corrnnission's New Screenwriters' Scheme, and the respective Drama Programs of SBS Independent and ABC-TV. The script treatment reflects a production budget of under one million dollars and therefore, is eligible for the AFC's low budget film development fund, Million Dollar Movies Fund, and the PFTC'S LOW Budget Feature Film Fund.
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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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Van, Poppel Elisabeth Wilhelmina. "Oleander : the writing of the contemporary supernatural drama." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15995/1/Elisabeth_Van_Poppel_Thesis.pdf.

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Oleander is a screenplay and exegesis that explores how the supernatural drama contributes to a deeper understanding of contemporary feature writing. The central theorists of the feature film, represented here by McKee, Seger, Vogler and Hauge, have created a robust model built around a three act structure, an inciting incident and clear challenge pursued and resolved by a protagonist. The thesis argues that the supernatural drama also calls for the logical treatment of the supernatural element, its managed concealment and its step by step revelation as part of the story development. The thesis tests this idea through the writing of a supernatural feature Oleander, and an analysis of Picnic at Hanging Rock and The Sixth Sense. These latter two films manage suspense in profoundly different ways to produce profoundly different effects.
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Van, Poppel Elisabeth Wilhelmina. "Oleander : the writing of the contemporary supernatural drama." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15995/.

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Oleander is a screenplay and exegesis that explores how the supernatural drama contributes to a deeper understanding of contemporary feature writing. The central theorists of the feature film, represented here by McKee, Seger, Vogler and Hauge, have created a robust model built around a three act structure, an inciting incident and clear challenge pursued and resolved by a protagonist. The thesis argues that the supernatural drama also calls for the logical treatment of the supernatural element, its managed concealment and its step by step revelation as part of the story development. The thesis tests this idea through the writing of a supernatural feature Oleander, and an analysis of Picnic at Hanging Rock and The Sixth Sense. These latter two films manage suspense in profoundly different ways to produce profoundly different effects.
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Lee, Gerard. "Swell : a feature-length screenplay set in the world of Australian surfing, and an accompanying exegesis on three-act structure." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/42417/1/Gerard_Lee_Thesis.pdf.

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Despite many arguments to the contrary, the three-act story structure, as propounded and refined by Hollywood continues to dominate the blockbuster and independent film markets. Recent successes in post-modern cinema could indicate new directions and opportunities for low-budget national cinemas.
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Davis, Sally, and sallyjjdavis@bigpond com. "Chronik disorder." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080416.092509.

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The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffiti-based gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.
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Davis, Sally, and sakkyjdavis@bigpond com. "Chronik disorder." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080704.102340.

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The research and project The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Synopsis of Screenplay Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffitibased gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.
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Hamilton, Scott. "The heroic fairy tale villain: Application of Vladimir Propp's formalist schema to the creation of a revisionist cinematic fairy tale in which the traditional villain is transformed into an anti-hero." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/212364/14/Scott_Hamilton_Thesis.pdf.

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This creative practice-led research examines how Vladimir Propp’s formalist structural analysis of Russian fairy tales may be applied to the writing of revisionist cinematic adaptations where the traditional literary villain is transformed into an anti-hero. This was achieved by mapping Propp’s 31 narrative elements to Syd Field’s three-act structural paradigm which resulted in the formulation of a new screenwriting schema that may be used as an alternative to the more established The Hero’s Journey model.
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Books on the topic "Screenplay structure"

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Secrets of screenplay structure: How to recognize and emulate the structural frameworks of great films. Los Angeles, CA: Lone Eagle Pub., 1999.

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Chitlik, Paul. Rewrite: A step by step guide to strengthen structure, characters, and drama in your screenplay. Studio City, CA: Michael Wiese Productions, 2008.

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Chitlik, Paul. Rewrite: A step by step guide to strengthen structure, characters, and drama in your screenplay. Studio City, CA: Michael Wiese Productions, 2008.

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Chitlik, Paul. Rewrite: A step by step guide to strengthen structure, characters, and drama in your screenplay. Studio City, CA: Michael Wiese Productions, 2008.

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Anderson, Donna Michelle. The 1-3-5 story structure made simple system: The nine essential elements of a sellable screenplay. Sherman Oaks, CA (14622 Ventura Blvd. #333, Sherman Oaks): Movie in a Box, 2006.

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1978-, Lohr Matt R., ed. Dan O'Bannon's guide to screenplay structure: Inside tips from the writer of Alien, Total recall and Return of the living dead. Studio City, CA: Michael Wiese Productions, 2013.

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Camara, Chike. Script Planner: A Screenplay Planner for Screenwriters; Plan Your Screenplay in Advance; Develop Screenplay Structure, Movie Treatments and Loglines. Independently Published, 2021.

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Four Magic Questions Of Screenwriting How To Structure Your Screenplay Fast. Artmar Productions, 2010.

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The Screenplay Tree: Movie Structure Made Easy (and "Kyd's Game", an Annotated Script). Independently Published, 2018.

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Beaty, Naomi. Screenplay Outline Workbook: A Step-By-step Guide to Brainstorm Ideas, Structure Your Story, and Prepare to Write Your Best Screenplay. Write + Co., 2022.

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Book chapters on the topic "Screenplay structure"

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Tabb, Michael. "Three-act structure." In Prewriting Your Screenplay, 182–201. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351058278-16.

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Markham, Peter. "Structure." In What’s the Story? The Director Meets Their Screenplay, 55–62. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367815363-10.

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Friedmann, Anthony. "Visual Storytelling: Structure and Form in the Screenplay." In Writing for Visual Media, 193–218. 5th ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429280856-13.

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Raynauld, Isabelle. "Structures." In Reading and Writing a Screenplay, 74–88. London ; New York : Routledge, 2019. | “Translated by Magenta Baribeau and Terri Foxman.” | “Originally published in France as Lire et âecrire un scenario, 2nd edition, by Isabelle Raynauld.”: Routledge, 2019. http://dx.doi.org/10.4324/9781351068208-6.

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Hoek, Liorah. "Tools for Shaping Stories? Visual Plot Models in a Sample of Anglo-American Advice Handbooks." In New Directions in Book History, 171–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_7.

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AbstractThis chapter examines the “storyology” in writing manuals, focusing on the verbal and the visual plot models in a corpus of sixteen mainstream creative writing handbooks on plot, novels, and screenplays, still in use today. We will focus on the prevalence of dramatic writing and the predominance of the “Mountain Model,” a model which combines earlier linear models, such as the “three-act structure,” “Field’s paradigm,” “Fichtean Curve,” “Freytag’s Pyramid,” and the polar model, built on the alternation of good and bad fortune, along with Joseph Campbell’s “Hero’s Journey.” The Mountain Model visualizes a concept of writing particularly suited for stories capable of being resolved within a limited time frame, combining the perspectives of protagonist and reader. While this model is usually presented as ideal and universal, changing the representation from a linear to a topographical model alters the kinds of plots which can be imagined.
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"Eleven Step Story Structure." In Screenplay, 28–46. Routledge, 2015. http://dx.doi.org/10.4324/9781315677033-4.

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"Three Act Structure and Beyond." In Screenplay, 20–27. Routledge, 2015. http://dx.doi.org/10.4324/9781315677033-3.

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"Screenplay Structure and Components." In Screenwriting for Profit, 54–61. New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315668659-7.

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Hughes, Emily. "Summary." In Studying Talk to Her, 137–38. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.003.0012.

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This chapter summarises the study of Pedro Almodóvar's Talk to Her (2002). Talk to Her is a film that reflects the social and historical context of Spain and demonstrates many of Almodóvar's auteur characteristics. Its award-winning screenplay defies traditional conventions in genre and narrative structure whilst still creating something that is aesthetically pleasing and accessible to view. The interpretations cited in this book are not the only interpretations. This is a film which becomes richer through discussion and analysis and by approaching it from different critical approaches such as: auteur, genre, narrative, gender, and psychoanalytic film theory. Indeed, the film leaves the viewer with many interesting questions to consider. Ultimately, it is important to look at the film within the body of Almodóvar's work, particularly through exploring his depictions of rape.
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Westwood, Emma. "‘I’ve come here to say one magic word to you: cheeseburger.’ The Fly scene-by-scene: Act One." In The Fly, 73–86. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325420.003.0006.

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This chapter assesses the scenes of Act One of David Cronenberg's The Fly (1986). The film opens with a mid-shot of Seth Brundle (Jeff Goldblum) talking to the camera; the next shot determines Brundle is actually talking to Geena Davis' character of Veronica ‘Ronnie’ Quaife. Within seconds, the two-hander format of the narrative is established, and another important aspect of the film: Veronica as the audience. The chapter then considers Cronenberg's oscillation between human seduction and scientific explanation in the interactions between Seth and Veronica. It also looks at the introduction of the third character of the love triangle, Stathis Borans. It is at this point that the singularity of Cronenberg's storytelling becomes strikingly apparent. With the introduction of Borans, Cronenberg has established the ‘trunk’ of his story structure, the interplay — conversational or otherwise — between Seth and Veronica, with all other scenes and incidences acting as ‘branches’ from this ‘trunk’. It is this singular simplicity of vision and structure that makes The Fly such a smart screenplay.
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Conference papers on the topic "Screenplay structure"

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Papalampidi, Pinelopi, Frank Keller, Lea Frermann, and Mirella Lapata. "Screenplay Summarization Using Latent Narrative Structure." In Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.acl-main.174.

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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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