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Journal articles on the topic 'Screenplays'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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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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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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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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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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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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8

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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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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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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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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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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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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14

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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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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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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18

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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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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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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Voloshina, Tatiana, Natalia Nerubenko, and Julia Blazhevich. "LINGUISTIC AND CULTURAL PECULIARITIES OF NIGERIAN SCREENPLAYS." Bulletin of Chelyabinsk State University 476, no. 6 (2023): 94–102. http://dx.doi.org/10.47475/1994-2796-2023-476-6-94-102.

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The article deals with the features of linguistic and cultural picture of the world representation on the example of Nigerian screenplays. The authors of the research analyze the features of the Nigerian cinematographic art which is the reflection of the Nigeria national picture of the world, that is subject to the dominant influence of the British English language influence. In the course of the work, the key characteristics of the screenplays of Nigeria are revealed, viz. the influence of the phenomenon called creolization which is the forced adaptation process of the British English languag

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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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Caltabiano, Frank P., and Tennessee Williams. "Stopped Rocking and Other Screenplays." World Literature Today 59, no. 3 (1985): 428. http://dx.doi.org/10.2307/40140937.

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Tucker, Stephanie, and Joanne Klein. "Making Pictures: The Pinter Screenplays." Theatre Journal 39, no. 1 (1987): 123. http://dx.doi.org/10.2307/3207644.

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Park, Jong-duck. "Cinematic Politics in Pinter’s Screenplays." Journal of Modern British & American Language & Literature 34, no. 2 (2016): 181. http://dx.doi.org/10.21084/jmball.2016.05.34.2.181.

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NANNICELLI, TED. "Why Can't Screenplays Be Artworks?" Journal of Aesthetics and Art Criticism 69, no. 4 (2011): 405–14. http://dx.doi.org/10.1111/j.1540-6245.2011.01484.x.

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Slater, Ben. "“Sound-Conscious” Screenwriting: Considering sound as storytelling tool in the screenplay." International Journal of Film and Media Arts 8, no. 3 (2023): 74–88. http://dx.doi.org/10.24140/ijfma.v8.n3.05.

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This essay considers issues relating to how sound has been treated historically by screenwriters, and advocates for a more “sound-conscious” screenwriting practice. From my own position as a screenwriter and educator of student screenwriters I begin by looking at common assumptions about the use of sound in screenplays and explore the challenges of including sound as part of a screenwriting practice; then I develop a framework by which screenwriters can identify different categories of sound in order to recognise potential for using sound as a storytelling tool within screenplays. This leads t

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Mello, Marcelo C. "Cinema Novo vs. Beatlemania: Discovering the use of sound and music in two unfilmed and unpublished Brazilian screenplays from the mid-1960s." Soundtrack, The 15, no. 1 (2023): 29–43. http://dx.doi.org/10.1386/ts_00025_1.

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In this article, I analyse sound and music in two unfilmed screenplays written by filmmakers Sergio Person and Jean-Claude Bernardet: SSS against Jovem Guarda (1966) and The Plague of the Ruminants (1967). Why would two leading figures of the politically engaged Cinema Novo jump into a commercial project with the ‘alienating’ leader of the Americanized Jovem Guarda? Their next project, The Plague of the Ruminants, contested the dictatorship. Inspired by magical realism, it would use Hollywoodesque fantastic spectacle. Through interesting interventions on the soundtrack, Person and Bernardet su

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Gantar, Damjana, and Mojca Golobič. "Screenplays: From knowledge to devicing policies." Urbani izziv 17, no. 1-2 (2006): 204–7. http://dx.doi.org/10.5379/urbani-izziv-en-2006-17-01-02-009.

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Hải Yến, Bùi. "Poetry in Luu Quang Vu’s screenplays." Journal of Science, Social Science 61, no. 5 (2016): 67–72. http://dx.doi.org/10.18173/2354-1067.2016-0061.

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Mota, Miguel. "Greenaway’s books: Peter Greenaway’s published screenplays." Journal of Screenwriting 2, no. 2 (2011): 229–48. http://dx.doi.org/10.1386/josc.2.2.229_1.

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O'Meara, Radha. "Sexism From Page to Screen." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 79–91. http://dx.doi.org/10.31165/nk.2017.102.506.

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This article analyses how characters are described in recent Hollywood screenplays, and notes that female characters are routinely described very differently than male characters. Male characters are commonly named and described expansively, whereas female characters are often unnamed, described meagrely, highly sexualised and infantalised. How characters are described in screenplays matters, because it impacts on production practices, the nature of workplaces, the films produced, and the gender representations we see daily on our screens. Conceptualizing this as a problem of screenwriting rat

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Boukemmouche, Hanane, and Samira Al-Khawaldeh. "The Monomyth or the Hero’s Journey in William Faulkner’s Screenplays: The Last Slaver and Drums Along the Mohawk." Theory and Practice in Language Studies 12, no. 12 (2022): 2527–34. http://dx.doi.org/10.17507/tpls.1212.07.

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Numerous critical works have dealt with the fiction of William Faulkner. However, little research has been done about his significant work for the screen. Most studies that have dealt with Faulkner’s screenplays focus on comparing between the fiction and the screenplays detecting especially how cinematic elements have found their way into the author’s works of literature. Hence, this article explores two of Faulkner’s 1930s screenplays, looking at the narrative structures of the scripts, seeking to find out to what extent they are consistent with the structure of the monomyth, the concept intr

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Böhm, Carina. "What we cannot see in Sound of Metal and Her Smell: Interplays of awareness, perspective and language in the screenplay text." Journal of Screenwriting 13, no. 3 (2022): 283–98. http://dx.doi.org/10.1386/josc_00101_1.

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A common belief in screenwriting practice dictates that a screenplay should only include what can be heard and seen, keep emotions at bay and avoid literary inflections. Perspective, however, only becomes visible with the limitations of its visibility. What cannot be seen can be as meaningful for the story as what can. In considering the collaborative translation process from what is written to what is filmed, I will investigate the communicative effects of using different storytelling languages in the writing of perspective. Establishing the interrelationship of perspective, awareness and lan

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Iwuh, John, and Nicodemus Adai Patrick. "Reading the docufiction script: Harnessing the thin line between facts and fiction." Journal of Screenwriting 13, no. 3 (2022): 375–87. http://dx.doi.org/10.1386/josc_00107_1.

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The ethical issues raised by merging facts and fiction in docufiction screenplays as a genre suitable for social impact storytelling still linger. Hence, for the intended message to be effectively passed, the genre, formatting and narrative technique have to be clearly established for the readership’s consumption. Therefore, this article will investigate how facts are reinforced by fiction in docufiction. Textual analysis of Nicodemus Adai Patrick and John Iwuh’s is employed in exploring narrative techniques and formatting as indicators of the proportion of facts and fiction in a docufiction s

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Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instr

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Taylor, Stayci. "Hidden a-gender?" Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 4–13. http://dx.doi.org/10.31165/nk.2017.102.508.

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This article is concerned with the ways in which a screenplay might be ‘gendered’ or gender identified and, more specifically, how screenwriting practice is informed by, and performs, notions of gender. It asks, in what ways might screenplays be gendered? What is the role of gender in the individual screenwriter’s own practice? And how might cultural assumptions around gender be enacted by and within screenwriting practices (especially mainstream script development processes) and discourse? The article discusses the potentially gendered biases of mainstream screenwriting frameworks (and the ho

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오영미. "A Study on Han Woon-sa's Screenplays." Cross-Cultural Studies 12, no. 1 (2008): 265–98. http://dx.doi.org/10.21049/ccs.2008.12.1.265.

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Callenbach, Ernest. ": Five Screenplays by Preston Sturges . Brian Henderson." Film Quarterly 38, no. 4 (1985): 54. http://dx.doi.org/10.1525/fq.1985.38.4.04a00340.

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Gale, Steven H. ": Making Pictures: The Pinter Screenplays . Joanne Klein." Film Quarterly 39, no. 4 (1986): 44–45. http://dx.doi.org/10.1525/fq.1986.39.4.04a00190.

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Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (2019): 295–306. http://dx.doi.org/10.1386/josc_00005_1.

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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions an

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Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (2019): 295–306. https://doi.org/10.1386/josc_00005_1.

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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903–83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musi- cal subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodra

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Villela-Dean, Noemi. "Do the Right Thing: Storytelling Secrets of Five Screenplays That Embrace Diversity, Karla Fuller (2023)." Journal of Screenwriting 14, no. 3 (2023): 338–42. http://dx.doi.org/10.1386/josc_00138_5.

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Review of: Do the Right Thing: Storytelling Secrets of Five Screenplays That Embrace Diversity, Karla Fuller (2023) Studio City, CA: Michael Weise Productions, 112 pp., ISBN 978-1-61593-340-2, p/bk, USD 26.95

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Bahren, Bahren, Syahrul Ramadhan, Mezia Kemala Sari, and Hermawati Syarief. "Students’ Perception on Ideas' Role in Film Story Scenario Writing Learning." AL-ISHLAH: Jurnal Pendidikan 15, no. 1 (2022): 25–32. http://dx.doi.org/10.35445/alishlah.v15i1.1509.

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This study aims to know the extent of students' perceptions of the importance of ideas in writing a film screenplay. The research approach uses a qualitative descriptive method. Data were collected through observation and questionnaires. The participants are fifth-semester students, as many as 42 people in the audio-visual class. The data were analyzed through three stages, namely data reduction, data presentation and conclusion. The results of data analysis found that most of the students, or 87.3%, students knew what ideas were in writing film scenarios. In addition, it was also found that i

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Dasenbrock, Reed Way, and Hanif Kureishi. "London Kills Me: Three Screenplays and Four Essays." World Literature Today 66, no. 4 (1992): 724. http://dx.doi.org/10.2307/40148705.

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Macdonald, Ian W. "The search for early British scenarios and screenplays." Early Popular Visual Culture 6, no. 1 (2008): 79. http://dx.doi.org/10.1080/17460650801948455.

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Hark, Ina Rae. "Making Pictures: The Pinter Screenplays by Joanne Klein." Comparative Drama 21, no. 1 (1987): 98–100. http://dx.doi.org/10.1353/cdr.1987.0030.

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Rima, Firdaus*1 Mochtar Lutfi2 Rizal Agung Kurnia3 Nuri Hermawan4 Lady Khairunnisa5 Nadya Afdholy6. "Transforming Wayang-Based Short Stories into Film Screenplays." International Journal of Scientific Research and Technology 2, no. 1 (2025): 141–49. https://doi.org/10.5281/zenodo.14632090.

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This study examines how wayang-based short stories are turned into movie screenplays, emphasizing how contemporary cinematic techniques and traditional cultural narratives merge. The traditional art form of wayang, which is full with moral and philosophical principles, becomes an engaging story source. Creators can maintain the cultural significance of wayang while making it approachable and pertinent for modern audiences, particularly younger ones, by turning these stories into scripts. In addition to retelling classic tales, this method addresses technical elements including character develo

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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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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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