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Journal articles on the topic 'Screenplay'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Mansoor, Zahida, and Maryam Khalid. "Analyzing Feminist Discourse in a Pakistani Screenplay." Pakistan Journal of Humanities and Social Sciences 12, no. 3 (2024): 2822–34. https://doi.org/10.52131/pjhss.2024.v12i3.2440.

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The study explores the feminist discourse in a Pakistani screenplay, highlighting attitudes towards women's emancipation. Using a qualitative lens, it investigates the language of the screenplay and the linguistic features that reinforce the impression of empowered Pakistani women. The thematic analysis reveals that the prevailing patriarchal cultural narratives are challenged in the screenplay, offering a departure from the predictability of the earlier storylines. The findings also indicate that changes in the way women are viewed is strengthened by the screenplay’s language choices, highlig

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Rudolph, Pascal, and Claus Tieber. "Screenwriting sound and music: Towards a new field of study." Soundtrack, The 15, no. 1 (2023): 3–8. http://dx.doi.org/10.1386/ts_00023_2.

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Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production – the screenplay – has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed limited interest in the acoustic dimensions of film, creating a research gap where film music studies intersect with screenwriting studies. This Special Issue aims to address this gap by emphasizing the screenplay’s importance in comprehending th

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3

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 (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 expounde

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Winer, David, and R. Young. "Automated Screenplay Annotation for Extracting Storytelling Knowledge." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (2021): 273–80. http://dx.doi.org/10.1609/aiide.v13i2.12994.

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Narrative screenplays follow a standardized format fortheir parts (e.g., stage direction, dialogue, etc.) including short descriptions for what, where, when, and howto film the events in the story (shot headings). We created a grammar based on the syntax of shot headings toextract this and other discourse elements for automatic screenplay annotation. We test our annotator on over a thousand raw screenplays from the IMSDb screenplay corpus and make the output available for narrative intelligence research.

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Koschany, Rafał. "From a Literary Work to a Movie and Back. Literary and Literary Studies Contexts for the Art of Screenplay." Tekstualia 1, no. 60 (2020): 43–54. http://dx.doi.org/10.5604/01.3001.0014.1361.

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Screenplays are a paradoxical and ambivalent phenomenon. On the one hand, a screenplay is a literary genre and its development attests to the process of its emancipation from the power of fi lm and fi lm theory. On the other hand, however, the screenplay read as the text „is becoming a movie” already during the act of reading. The screenplay – as a quasi-literary phenomenon – can be a useful and inspiring tool in fi lm interpretation, as it opens up a variety of methodological possibilities.

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6

Brickey, Russell. "Art in the ‘big print’: An examination and exercises for cinematic prose writing style." Journal of Screenwriting 12, no. 2 (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 scr

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Prokhorova, Elizaveta Vladimirovna. "Main expressive devices of the literary screenplay in Russian cinema of the 1990s." Человек и культура, no. 5 (May 2023): 29–38. http://dx.doi.org/10.25136/2409-8744.2023.5.44041.

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The article explores the means of literary expressiveness used in the literary screenplays of film screenwriters of the 1990s. The literary screenplay, characterized by the extensive use of literary devices, became an educational and production standard of Soviet cinema from the 1930s. All elements of this form are subservient to the goal of subsequent screen embodiment and are directly related to the issues of the future film. In the 1990s, the transition from the state-controlled Soviet film production system to the producer model led to a shift towards the American screenplay, whose dry and

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8

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

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An investigation into a methodology: the adaptation of a complex Afrikaans novel into a screenplay Very few Afrikaans films are currently being produced. One of the possible reasons for this phenomenon could be that very few Afrikaans screenplays are written nowadays. There are, however, some good Afrikaans novels which could conceivably become commercially successful films, provided they were properly adapted into screenplays. In this article, the methodology that was used by an aspiring Afrikaans screenwriter to adapt the Afrikaans novel, “Die swye van Mario Salviati”, by Etienne van Heerden

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Goodare, Lee. "‘I wasn’t open to notes’: S. Craig Zahler, Dragged Across Concrete (2018) and the 157-page screenplay." Journal of Screenwriting 13, no. 1 (2022): 5–24. http://dx.doi.org/10.1386/josc_00080_1.

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Drawn to its distinctive narrative style and length, in this article I examine writer-director S. Craig Zahler’s third feature screenplay, Dragged Across Concrete. I focus on Zahler’s authorship and creative writing, which flouts many screenwriting conventions. Zahler’s screenplay, totalling 157 pages, is considerably longer than the recommended length of 90‐120 pages and it is examined and contextualized here via discussion of length, style, character, scenes, genre and dialogue. This analysis contributes to the formal study of the screenplay as a source text and aims to counter what Steven P

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Prokhorova, Elizaveta Vladimirovna. "Typology of literary script in Russian cinema of the 2000s." Человек и культура, no. 2 (February 2024): 106–20. http://dx.doi.org/10.25136/2409-8744.2024.2.70474.

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The study materials included screenplays by authors who made their debut in the 2000s: M. Kurochkin, I. Ugarov, V. Sigarev, A. Rodionov, A. Novototsky, V. Moiseenko, A. Zvyagintsev, and O. Negin. Since the 1930s Soviet film school had formed a specific type of screenplay, literary script, in which the visual identity of the future film is created through literary means. In the 1990s, a competitive type of script appeared in the Russian film production – it was American screenplay format which implied he abandonment of literary techniques. By the 2000s, Russian film dramaturgy was influenced by

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11

Figueiredo, Camila Augusta Pires de. "Henson and Juhl’s Tale of Sand: From lost archive to graphic novel and illustrated screenplay." Journal of Screenwriting 13, no. 3 (2022): 299–311. http://dx.doi.org/10.1386/josc_00102_1.

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In the interval between the production of the short films Time Piece (released in 1965) and The Cube (released in 1969), Jim Henson and Jerry Juhl wrote the first draft of Tale of Sand, with the aim of adapting it into a feature-length film one day. However, both Henson and Juhl eventually became involved in other projects, so their manuscript remained forgotten for several years and the film was never produced. Found after some decades in The Jim Henson Company’s archives, the screenplay was adapted into an award-winning graphic novel in 2011 and three years later it was published as an illus

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12

Okorie, Chijioke. "Lessons in Protecting and Enforcing Copyright in Screenplays in Nigeria." Business Law Review 41, Issue 2 (2020): 55–62. http://dx.doi.org/10.54648/bula2020011.

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On 2 May 2019, the Lagos Division of the Federal High Court in Nigeria delivered its judgment in Suit No. FHC/L/ CS/740/2017 Raconteur Productions Limited v. Dioni Visions Entertainment Limited and Others (‘Raconteur’). This was a claim for copyright infringement of a screenplay, and concerned what constituted sufficient proof of an alleged infringer’s access to such screenplay and evidence of substantial similarities under Nigeria’s Copyright Act. The plaintiff did not produce physical or documentary evidence of its screenplay alleged to have been infringed. For this reason, the Court dismiss

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Turina, Romana, and Gabrielle Tremblay. "Textual perspectives: Screenwriting styles, modes and languages." Journal of Screenwriting 13, no. 3 (2022): 277–82. http://dx.doi.org/10.1386/josc_00100_2.

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While addressing the question of screenplay textuality, this Special Issue takes a close interest in the ‘media thickness’ of the screenplay in its textual form. In doing so, we wish to contribute to the exploration and affirmation of scenaristic processes as both cultural and intermedial practices, as in general, screenwriting and screenplays are indeed to be considered at the crossroads of different artistic, mediatic and social fields. This is a flexible editorial posture and assumed as such, one which above all aims to consider the constitutive plurality of given textual practices, not onl

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Deaville, James. "Writing on screens: (Re-)mediating music and sound through captions." Soundtrack, The 15, no. 1 (2023): 77–91. http://dx.doi.org/10.1386/ts_00028_1.

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The article focuses on the screenplay’s ‘afterlife’, as a (re-)creative product of captioners and a text for reading by the d/Deaf and Hard of Hearing (DHH) audience. In particular, it explores captioning practices that textualize aspects of the soundtrack crucial to screenplay meanings. Close study of horror series Stranger Things (ST, Netflix) and The Last of Us (TLoU, HBO) reveals how their closed captions represent the end in a unique chain of mediated translations between the script’s written word, the media form’s soundtrack and the captions’ screen text. Comparing ST Season 4, Episode 9

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15

Aan Setiadarma, Priyono Sadjijo, and Ahmad Zaki Abdullah. "Menulis Skenario Secara Fair Use dengan Menggunakan AI." Jurnal Pengabdian Masyarakat Nusantara 6, no. 4 (2024): 204–14. https://doi.org/10.57214/pengabmas.v6i4.633.

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The training Writing Screenplays Using Fair Use with AI was conducted to enhance participants' understanding of the fair use concept and the application of artificial intelligence (AI) technology in screenplay writing. In the digital age, AI offers great potential in the creative industry, but its use must be accompanied by a proper understanding of ethics and law. This training aimed to introduce the principles of fair use and how to use AI software to improve creativity and efficiency in writing screenplays. The methods used included lectures, practical exercises, and evaluation of participa

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Ghamari-Sabzevar, Ardalan, and Sepehr Golmakani. "THE TECHNIQUES FOR ENGLISH TO PERSIAN TRANSLATION OF TABOO LANGUAGE IN AN R-RATED SCREENPLAY." World Languages, Literature and Cultural Studies 3, no. 1 (2024): 13–19. https://doi.org/10.26480/wllcs.01.2024.13.19.

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Offensive and taboo exchanges are very recurrent in gangster films and TV series, whose screenplays are full of characters who swear, curse, and make ample use of taboo terms. This study aims to analyze the techniques for English to Persian translation of taboo language in an R-rated screenplay. The practical analysis in the research is based on Ghazizadeh and Mardani’s model of translation techniques. After reviewing Sopranos’s screenplay translation as a case study, it was revealed that the most common technique used by the translator is omission, adopted in 39.6% of data. Taboo substitution

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17

Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.

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ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era mu

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18

Mansoor, Zahida, Iram Amjad, Saadia Khan, and Uswa Furqan. "Social Semiotics of Trauma, Betrayal, and Displacement in the Screenplay Jo Bichar Gaye: A Multimodal Analysis." Journal of Communication and Cultural Trends 6, no. 2 (2025): 69–93. https://doi.org/10.32350/jcct.62.04.

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The study uses Multimodal Discourse Analysis (MDA) to explore the social semiotics of trauma, betrayal, and displacement in the Pakistani screenplay Jo Bichar Gaye. This play represents memories of a soldier playing back on events that led to the separation of East Pakistan. Scenes were purposively selected based on their significance to the themes under investigation. The screenplay provided multi-modal text in a hybrid form of linguistic and visual elements for cohesive ties in the characters’ conversations as well as meaningful cinemascope techniques. The analysis revealed the emotional and

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Ryabchikova, Natalie S. "The beginning of “The Beginning”. Excerpts from the discussion of the screenplay by E. Gabrilovich and G. Panfilov." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2023): 150–71. http://dx.doi.org/10.35852/2588-0144-2023-2-150-171.

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The publication is concerned with the discussion of the screenplay (“literary script” in the Russian screenwriting terminology) of the film, which was released in 1970 under the title “The Beginning”. Excerpts from the previously unpublished discussion of the screenplay at the Artistic Council of the Second Creative Association of the Lenfilm Studios on January 14, 1969, in the presence of one of the screenplay’s co-authors and the future director of the film, Gleb Panfilov, shows both the emerging general attitude towards the future film at the studio and the typical objections that fellow fi

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20

Černík, Jan. "The strange case of the three-column screenplay format in 1950s Czechoslovakia." Journal of Screenwriting 11, no. 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

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21

Garnett, Tony. "The screenplay." Journal of Screenwriting 8, no. 2 (2017): 137–45. http://dx.doi.org/10.1386/josc.8.2.137_3.

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22

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 (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 age

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23

Sawtell, Louise, and Stayci Taylor. "Gender and the Screenplay." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (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

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Paletz, Gabriel M. "Writing sound in the screenplay: Traditions and innovations." Soundtrack, The 15, no. 1 (2023): 61–75. http://dx.doi.org/10.1386/ts_00027_1.

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Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in

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Copier, Laura. "Reanimating Saint Paul: From the Literary to the Cinematographic Stage." Biblical Interpretation 27, no. 4-5 (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. Desp

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Jones, William E. "Finished: A Screenplay." PAJ: A Journal of Performance and Art 20, no. 2 (1998): 82. http://dx.doi.org/10.2307/3245935.

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McGann, Brad. "The original screenplay." Short Film Studies 6, no. 1 (2016): 26–35. http://dx.doi.org/10.1386/sfs.6.1.26_7.

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Edmond, Frances. "Screenplay: The Beach." Short Film Studies 7, no. 1 (2017): 15–18. http://dx.doi.org/10.1386/sfs.7.1.15_1.

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Zhang, Zhen. "How The Danish Girl was adapted and recontextualized through multimedia." Journal of Adaptation in Film & Performance 16, no. 3 (2023): 253–68. http://dx.doi.org/10.1386/jafp_00102_1.

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The Danish Girl has three different versions – novel, screenplay and film. Through comparison, this study explored how Lucinda Coxon (2015) and Tom Hooper (2015) adapted David Ebershoff’s novel (2000), The Danish Girl, to the screenplay and the film of the same name, and how multimodal semiotic resources contributed to recontextualizing the screenplay and the film. This research selected a scene, which represented the ‘remade’ type, from The Danish Girl to instantiate recontextualization in depth. The study found that the adaptations of The Danish Girl mixed different methods. The study also f

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Al-Ayubi, Arliga Kanza. "Don’t Speak, Maharani: Raising Awareness Towards How Victim Blaming is Worsening Rape Survivor’s PTSD." K@ta Kita 7, no. 3 (2019): 329–36. http://dx.doi.org/10.9744/katakita.7.3.329-336.

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The screenplay Don’t Speak, Maharani is the story of Maharani as a rape survivor who suffers from post traumatic stress disorder. Using drama as the genre of the story, the screenplay shows multiple struggles of Maharani who lives her life with unsupportive family which is worsening her psychological state. Since the screenplay focuses on the act of victim blaming which is worsening rape survivor’s Post Traumatic Stress Disorder (PTSD), the story focuses on Maharani reaction towards the action given to her. As the plot advances, it shows how Maharani’s PTSD is worsened by victim blaming given

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Podosian, Arsen. "THE SCRIPT AS A STRUCTURAL COMPONENT OF THE DIRECTOR’S CREATIVE WORK IN MODERN CINEMATOGRAPHY." Dialog: media studios, no. 29 (March 15, 2024): 125–36. http://dx.doi.org/10.18524/2308-3255.2023.29.300641.

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This scientific work aims to deeply and comprehensively study the scenarios and the role of the director in the modern cinematographic process with the purpose of revealing the system of their interaction and influence on the creation of cinematic works of art. It is necessary to investigate the screenplay as a structural component of the director’s creative work. In exploring the issues, it is necessary to analyze the importance of history as a fundamental aspect of the film and a key structural element in the creative work of the film director. In this context, carefully consider how the scr

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Mariniello, Silvestra. "St. Paul : The Unmade Movie." Cinémas 9, no. 2-3 (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 cri

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Hendrata, Timothy, and Ribut Basuki. "PROJECT: SCREENPLAY FINDING ANDY." K@ta Kita 5, no. 1 (2017): 136–41. http://dx.doi.org/10.9744/katakita.5.1.136-141.

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This paper is about my screenplay entitled Finding Andy which I use as my final project. The screenplay itself is a story about a teenage girl who wants to improve her family’s poor communication. For my theory, I use John Gottman’s “The Four Horsemen of the Apocalypse Model” about family conflict. The theory helps me to shape my characters’ behavior towards each others. Since my characters has better relationship even though the brother dies in the end, I tend to use the worst level of family conflict in the beginning of the story and it gradually changes into successful communication which l

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Septi, Katarina, and Ribut Basuki. "PROJECT: SCREENPLAY GOING HOME." K@ta Kita 5, no. 1 (2017): 90–94. http://dx.doi.org/10.9744/katakita.5.1.90-94.

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This paper explained the process and the result of my final project which is a screenplay entitled Going Home. The screenplay is about Dahlia, a thirteen-year-old girl who was born and grew up in Australia. Then, she has to return to Jakarta, Indonesia and continue her education in Indonesia. She has an assignment about history of Indonesia. She needs to write one of heroic history of Indonesia with her own words and write her reflection about it. Once, she goes to Surabaya for a holiday and stays at Majapahit Hotel Surabaya. In the hotel, she experiences the past life about several historical

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Rodman, Howard A. "What a Screenplay Isn't." Cinema Journal 45, no. 2 (2006): 86–89. http://dx.doi.org/10.1353/cj.2006.0020.

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Tretyakov, Sergei, Mihaela Mihailova, and Masha Salazkina. "The Industry Production Screenplay." Cinema Journal 51, no. 4 (2012): 133–38. http://dx.doi.org/10.1353/cj.2012.0096.

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Sa'edi (, Gholamhosayn, and Mohsen Ghadessy). "The cow: a screenplay." Iranian Studies 18, no. 2-4 (1985): 257–323. http://dx.doi.org/10.1080/00210868508701660.

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Plotnikova, A. G. "Genre Features of Professional Screenplays in Russia in 1910s: Theory and Practice." Nauchnyi dialog 13, no. 3 (2024): 233–50. http://dx.doi.org/10.24224/2227-1295-2024-13-3-233-250.

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The article explores the genre dominants of Silver Age screenplays. Theoretical concepts of film dramaturgy are applied to the texts of A. A. Khanzhonkov’s “From the World of Mystery” (1915) and A. S. Voznesensky’s “God” (1918). The scientific novelty of the study lies in the comprehensive analysis of these screenplay texts for the first time. The relevance is justified by contemporary philology’s interest in the intermedial aspect of literature. The screenplays exhibit an orientation towards literary models: a wide range of linguistic devices (metaphors, similes, inversions), complex composit

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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 (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

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Ambarwa, Susi, Radius Setiyawan, and Pramudana Ihsan. "Ecological Feminism Issues Depicted in Moana’s Screenplay by Jared Bush." Tell : Teaching of English Language and Literature Journal 6, no. 2 (2018): 97. http://dx.doi.org/10.30651/tell.v6i2.2137.

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The purpose of this research is to reveal whether Moana’s Screenplay by Jared Bush can be considered as an eco-feminism reading or not. To prove this hypothesis, the researcher analyzes Moana’s Screenplay through find out the characteristics of the main character that reflect ecological feminism and reveals the relationship between man, woman, and nature in Moana’s screenplay using eco-feminism perspective. The researcher uses descriptive qualitative methods in analyzing the data. The researcher found that eco-feminism issues were clearly shown in this screenplay. First, the main character in

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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 (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 possibili

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Siongkowinarto, Edwin. "Aurora: Stereotyping and How It Shapes a Person’s Perspective of His Own and Other People’s Self-Identity." K@ta Kita 6, no. 2 (2018): 129–35. http://dx.doi.org/10.9744/katakita.6.2.129-135.

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My screenplay Aurorafollows a couple of high school students Dave and Aurora as they go out on their first date. With Dave being the high school nerd and Aurora being the popular girl, forming a bond obviously would not be easy. However, the story will peel back the layers of these two teenagers to the point that they realize that they are more than what their stereotypes suggest them to be. Since my work’s main idea revolves around stereotyping and how people use it as a way to identify a person’s character, hopefully it can emphasize to the audience the importance of not judging people based

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Walker, Michael. "Using Screenplays to Integrate Filmwork in the ESL Classroom." JALT PIE SIG: Mask and Gavel 10, no. 1 (2022): 112–34. http://dx.doi.org/10.37546/jaltsig.pie10.1-5.

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Although the use of film in both ESL and EFL classrooms is widespread, the screenplay on which most films are based is almost non-existent as a language learning resource. However, its structured framework provides the opportunity to teach skills-based activities that are contextually clear, particularly when accompanied by the movie. The primary challenge in adopting screenplay work into a curriculum, especially for educators not familiar with the format, is in ensuring specific language-based learning objectives are being met, whilst also encouraging creative freedom amongst the students. To

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Baker, Dallas John. "Spinning and singing: Exploring memory and gender non-conformity through screenwriting for publication first." Journal of Screenwriting 13, no. 3 (2022): 329–46. http://dx.doi.org/10.1386/josc_00104_1.

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This article discusses a short screenplay written for publication first, rather than production, and how this approach enabled the writer to explore fringe or non-commercial topics, specifically male gender non-conformity and queer identity formation. Shifting the focus of screenwriting from the sole goal of production to a twin goal of publication first and then production opened up a number of creative and scholarly avenues for the writer and means that the script will find an audience (a readership) irrespective of production. It also means that the textual qualities of the script are foreg

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Zykova, I. V. "LINGUOCREATIVE MODELING OF DISCOURSES OF DIFFERENT MODALITY IN CONTRAST: SCREENPLAY VS. FILM." Voprosy Kognitivnoy Lingvistiki, no. 3 (2023): 16–30. http://dx.doi.org/10.20916/1812-3228-2023-3-16-30.

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The article contains the results of a comparative study of linguistic creativity, carried out on the material of a screenplay and a film, representing discourses with different types of modality. The author has developed the criteria for selecting research material and an algorithm for its analysis by means of the method of parameterization of linguistic creativity. The research has established the elements of the text of the screenplay and the verbal system of the film, which are relevant and irrelevant for the study of linguistic creativity in these types of works. The data obtained reveal a

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Mathews, Phil. "Just a story: Framing trauma within screenwriting practice." Journal of Screenwriting 15, no. 3 (2024): 229–41. https://doi.org/10.1386/josc_00160_1.

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This article examines the evolution of a screenplay and short film that developed as a creative response to a traumatic encounter with a child, and how the initial trauma resonated through the entire development process. This autoethnographic account will frame the initial encounter, the creative translation of that encounter into a screenplay and the subsequent life and ramifications of that screenplay and the relationships surrounding it. Moving beyond the encounter that spawned the screenplay, I intend to explore a directly related event that produced a similar response in me. The recogniti

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Nikoriak, Natalia, and Aliona Matiychak. "INTERMEDIALITY AS A GENRE DOMINANT OF THE SCREENPLAY." InterConf, no. 13(109) (May 20, 2022): 184–90. http://dx.doi.org/10.51582/interconf.19-20.05.2022.024.

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The article analyzes the screenplay "Check Your Watches" by Lina Kostenko and Arkadiy Dobrovolskiy in the context of intermedial studies. This text appears as an original intermedial genre construct, presenting a synthesis of two types of art (literature and cinema), but it also actively appeals to other arts: painting, sculpture, theater, music and, intertextually, to literature. Artistic codes permeate different levels of the text: the title complex, personosphere, composition, presenting the versatility, uniqueness and aesthetic level of the scriptwriters. The "decoding" of the screenplay a

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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 (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-

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Margalit, Gilad. "On Ethnic Essence and the Notion of German Victimization: Martin Walser and Asta Scheib’s Armer Nanosh and the Jew within the Gypsy." German Politics and Society 20, no. 3 (2002): 15–40. http://dx.doi.org/10.3167/104503002782486208.

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This article discusses a screenplay of the television thriller ArmerNanosh (Poor Nanosh), written in 19891 by the famous Germanauthor Martin Walser and Asta Scheib.2 The screenplay deals withthe relations between Germans and Germany’s Sinti, or Gypsy, populationin the shadow of Auschwitz,3 a subject that has hardly beentouched upon by postwar German authors and dramatists.

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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), direct

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