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Journal articles on the topic 'Screenwriter'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Sanai, L. "Screenwriter doctor." BMJ 327, no. 7411 (2003): 54s—54. http://dx.doi.org/10.1136/bmj.327.7411.s54.

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2

Reinola, Kirsi. "Emotional Transportation and Identification in Screenwriting: A Pilot Study." Baltic Screen Media Review 11, no. 1 (2023): 68–83. http://dx.doi.org/10.2478/bsmr-2023-0005.

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Abstract Within the academic domain focused on the artistic practice of screenwriting, this exploratory study assesses the presence of emotional transportation and character identification processes within the solitary screenwriter’s creative imagination during the writing process. Screen-writing research is facing a dichotomy of the screenwriter who embodies both the role of a narrative specialist and that of a visual storytelling poet. Screenwriters often work in isolation, even in collaborative projects, leading to a tension between solitary work and collaborative roles. Narrative theories

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3

Scholz, Juliane. "Re-Configuring the New Women - Female Screenwriters and Street Films in Weimar Republic." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 32–44. http://dx.doi.org/10.31165/nk.2017.102.507.

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This article traces the history of early female screenwriters in Germany and highlights the influence of professional female screenwriter Ruth Goetz and her movie Die Dirnentragödie (also: Women without Men, 1927). It shows how the movie represented certain political, cultural and legal debates on the New Woman and reconfigured the myth by implementing ambivalent gender roles in the plot. Furthermore, the representation of the role of female sex workers in Weimar society in Weimar street films is described and the way of transforming cultural and political discourses about gender equality into

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4

Zvegintseva, Irina Anatolyevna. "Both Screenwriter and Director." Journal of Flm Arts and Film Studies 6, no. 2 (2014): 120–22. http://dx.doi.org/10.17816/vgik62120-122.

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American screenwriter, producer, director and actor Paul Haggis has substantially gone down in world cinema's history. Currently he is an author of more than thirty-five feature length films' scripts among which are such significant films as "Million Dollar Baby" (2004), "Flags of Our Fathers"(2006), "Letters from Iwo Jima", "Casino Royale"(2006), "Quantum of Solace" (2008), "Terminator Salvation" (2009). His directorial works are of interest as well. The article is devoted to brief analysis of this "second" and less known Haggis' profession.

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5

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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6

Shaw, Deborah. "Whose film is it anyway? The battle over auteur status between Alejandro González Iñárritu and Guillermo Arriaga." Studies in Spanish & Latin American Cinemas 18, no. 1 (2021): 19–36. http://dx.doi.org/10.1386/slac_00034_1.

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Director Alejandro González Iñárritu and screenwriter and novelist Guillermo Arriaga worked together on three, highly successful films – Amores perros (2000), 21 Grams (2003) and Babel (2006). Yet, theirs was a troubled partnership and ended in a public feud. Arriaga stressed his creative primacy in the projects they worked on and downplayed the input of the director, while Iñárritu underplayed Arriaga’s contribution after Amores perros. Finally, during the making of Babel, these tensions came to a head and their collaboration came to an acrimonious end over irreconcilably different notions of

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7

Ksenofontova, Alexandra. "Inventing Middlebrow Cinema: The Russian Film Journal Pegasus (1915–1917)." Journal of Modern Periodical Studies 14, no. 2 (2023): 134–58. http://dx.doi.org/10.5325/jmodeperistud.14.2.0134.

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ABSTRACT This article investigates the editorial policy of Pegasus (Pegas, 1915–1917), one of the first film journals in Russia addressed to a nonprofessional audience. It contends that the journal aimed at legitimizing film as a middlebrow art and entertainment. The hope was to establish film as an artistic realization of the screenwriter’s literary work; Pegasus therefore initiated the discussion of the screenplay as literature, both in editorials and through screenplay publications. At the same time, Pegasus pioneered the debates on authorship in film by promoting the screenwriter as an aut

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8

Schaber, Bennet. "Little cinemas: Eugene O’Neill as screenwriter." Journal of Screenwriting 13, no. 1 (2022): 39–64. http://dx.doi.org/10.1386/josc_00082_1.

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In November of 1926, Eugene O’Neill (1888‐1953) wrote photoplays of two of his most successful and ambitious dramas of the 1920s, The Hairy Ape (1922) and Desire under the Elms (1924). O’Neill was motivated in part by the journalist and screenwriter Ralph Block’s promotion of the ‘little cinema’ movement, the prestige model of authorship that accompanied it as well as the movement’s actual momentum in New York in the late 1920s. Thus, optimism about the growth of an increasingly sophisticated audience as well as accounts of the innovative possibilities for film form promoted by the likes of Bl

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9

Zágoni, Balázs. "Jenő Janovics: Michel Curtiz’s first screenwriter." Journal of Screenwriting 13, no. 2 (2022): 231–43. http://dx.doi.org/10.1386/josc_00095_1.

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Jenő Janovics was Transylvania’s pioneer in film and one of the first screenwriter‐producers in the Austro-Hungarian Empire. He discovered talents like Michael Curtiz and Sir Alexander Korda. He wrote 31 film scripts, of which only one has survived: A tolonc (The Exile) and the silent film made from it, is the only remaining testimony of Curtiz’s and Janovics’s collaboration. In 2022, we commemorate the 60-year anniversary of the death of the former and 150 years from the birth of the latter. While all the known articles so far focus on Janovics’s legacy as a producer or a director, this artic

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10

Relich, Mario. "Alan Sharp: Revisionist Screenwriter and Novelist." Scottish Affairs 33, no. 2 (2024): 240–47. http://dx.doi.org/10.3366/scot.2024.0503.

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11

Boozer. "Novelist-Screenwriter versus Auteur Desire: The Player." Journal of Film and Video 65, no. 1-2 (2013): 75. http://dx.doi.org/10.5406/jfilmvideo.65.1-2.0075.

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12

Gutiérrez, Julia Sabina. "Screenwriter Rafael Azcona, writing of his times." Journal of Screenwriting 4, no. 2 (2013): 179–97. http://dx.doi.org/10.1386/josc.4.2.179_1.

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13

Brizuela, Natalia. "Eduardo Coutinho Filmography." Film Quarterly 69, no. 3 (2016): 56–57. http://dx.doi.org/10.1525/fq.2016.69.3.56.

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14

Krikowa, Natalie. "Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day." Journal of Screenwriting 12, no. 3 (2021): 325–43. http://dx.doi.org/10.1386/josc_00070_1.

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This article presents a case study of the Australian children’s television programme, First Day (ABC Australia 2020‐present), which depicts a young transgender girl’s experiences beginning high school. The article explores the screenwriting process involved in creating inclusive and diverse children’s television, drawing on an original interview with Julie Kalceff, the show’s screenwriter and director. Kalceff discusses her screenwriting process writing for and about children who occupy liminal and marginal spaces and the research, writing and consultation processes undertaken to create her pi

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15

Shakhov, Anatoliy Sergeyevich. "Shadi Abdel Salam, «the Pharaoh of Egyptian Cinema»." Journal of Flm Arts and Film Studies 5, no. 2 (2013): 95–96. http://dx.doi.org/10.17816/vgik5295-96.

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16

Zvegintseva, Irina Anatolyevna. "M.Night Shyamalan’s Ups and Downs." Journal of Flm Arts and Film Studies 5, no. 2 (2013): 97–100. http://dx.doi.org/10.17816/vgik5297-100.

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17

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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18

Husebye, Sylvi Jane. "The screenwriter as auteur: Nora Ephrons Heartburn." Edda 95, no. 01 (2008): 3–16. http://dx.doi.org/10.18261/issn1500-1989-2008-01-02.

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19

Zamojski, Jan. "A City in Lailonia. Remarks from a screenwriter." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 12, no. 21 (2013): 43. http://dx.doi.org/10.14746/i.2013.21.04.

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20

Zvegintseva, Irina Anatolyevna. "James Mangold is “a jewel of a man” in American Cinema." Journal of Flm Arts and Film Studies 6, no. 4 (2014): 110–12. http://dx.doi.org/10.17816/vgik64110-112.

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21

Rodman, Howard A. "Remembering Walter Bernstein." Film Quarterly 74, no. 4 (2021): 43–47. http://dx.doi.org/10.1525/fq.2021.74.4.43.

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Screenwriter Howard Rodman offers a poignant appreciation of Walter Bernstein, the blacklisted screenwriter and director who died in January 2021 at the age of 101. Bernstein had been a fixture in Rodman’s life since the 1950s, when Rodman’s father served as a “front” for Bernstein’s television work. Bernstein would later use that experience as inspiration for The Front (dir. Martin Ritt, 1977), his trenchant and mordantly funny account of life on the blacklist. Rodman surveys Bernstein’s long career, from his years as a journalist for the US Army publication Yank and The New Yorker, to his po

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22

Puchkov, A. "YOUNG OLEXANDER KORNIYCHUK: SCREENWRITER AND FILM DIRECTOR (1929–1934)." Innovative Solution in Modern Science 7, no. 43 (2020): 122. http://dx.doi.org/10.26886/2414-634x.7(43)2020.9.

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For the first time, the cinematographic heritage of the 1920s by Ukrainian comedian Oleksandr Korniychuk (1905–1972) was comprehensively considered, and an attempt to create a new historical and cultural optics in considering the creative heritage of Soviet playwrights and cinematographers of official ideological orientation was proposed. The degree of importance of studying the author’s compositional architecture of the «big mute» at the Odessa and Kyiv film studios in deepening the elucidation of the dramatic principles of Korniychuk’s stage work is shown.Key words: Oleksandr Korniychuk and

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23

Hobbs, Austin. "Screenwriter: The Life and Times of Nunnally Johnson, Tom Stempel (1980)." Journal of Screenwriting 12, no. 2 (2021): 251–53. http://dx.doi.org/10.1386/josc_00065_5.

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24

Nalabandian, Taleen, and Molly E. Ireland. "Linguistic gender congruity differentially correlates with film and novel ratings by critics and audiences." PLOS ONE 17, no. 4 (2022): e0248402. http://dx.doi.org/10.1371/journal.pone.0248402.

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The film and publishing industries are fraught with gender disparities, with men overpowering nearly every sector of these domains. For instance, men are not only paid more than women in the film industry, but they also outnumber women in positions such as director, screenwriter, and lead acting roles. Similarly, women often resort to assuming gender-neutral or male pseudonyms to increase their prospects in the publishing industry. This widespread gender inequality in the film and publishing industries raises the question of how writers’ gender relates to gendered language and narrative recept

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25

SAOULI, Yasmine, and Sihem GUETTAFI. "L’HUMOUR A L’ALGERIENNE: LES CONTES DE GRIMM PARODIÉS PAR DJAFFAR GACEM." Analele Universității din Craiova Seria Ştiinte Filologice Langues et littératures romanes 27, no. 1 (2024): 113–26. http://dx.doi.org/10.52846/aucllr.2023.01.09.

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In this paper, we shall focus on the humorous television rewrites of the Algerian screenwriter and director Djaffar Gacem to demonstrate how humour can be at the service of transmedia storytelling. Our reflective approach is also intended to prove how Alg

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26

Alhawamdeh, Hussein A., and Feras M. Alwaraydat. "The dramatization of the shepherd warrior in Christopher Marlowe’s Tamburlaine and the Jordanian drama Bedouin series Rās Ghlai (‘The head of Ghlai’)." Journal of Screenwriting 13, no. 2 (2022): 169–86. http://dx.doi.org/10.1386/josc_00092_1.

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Parts 1 and 2 of the Arab Jordanian series Rās Ghlai (‘The head of Ghlai’) (2006‐08), written by Jordanian screenwriter Muafā āli and directed by Amad D‘aibis and Sha‘lān al-Dabbās, share three ‘common denominators’, in Haun Saussy’s terminology, with Christopher Marlowe’s Tamburlaine the Great, Parts 1 and 2 (1587): (1) the shepherd character as a monstrous despot, (2) pastoral love of the shepherds and (3) the mobilization of nations/tribes to take revenge against Tamburlaine/Ghlai. āli’s delineation of the nomadic hero Ghlai is similar to the Marlovian model of Tamburlaine in a time of war

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27

Macdonald, Ian W. "The Silent Screenwriter: The Re-discovered Scripts of Eliot Stannard." Comparative Critical Studies 6, no. 3 (2009): 385–400. http://dx.doi.org/10.3366/e174418540900086x.

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28

McElhinney, Andrew Repasky. "Atlantic City at 40: An interview with screenwriter John Guare." Film International 18, no. 1 (2020): 101–6. http://dx.doi.org/10.1386/fint_00013_7.

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29

Raskin, Richard. "An interview with screenwriter Rosan Dieho on The Chinese Wall." Short Film Studies 5, no. 1 (2015): 92–94. http://dx.doi.org/10.1386/sfs.5.1.92_7.

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30

Stewart, Tyson. "Rewrite man: the life and career of screenwriter Warren Skaaren." Historical Journal of Film, Radio and Television 39, no. 4 (2019): 905–6. http://dx.doi.org/10.1080/01439685.2019.1643141.

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31

WILSON, LESLIE KREINER. "Frances Marion: Censorship and the Screenwriter in Hollywood, 1929-1931." Journal of Screenwriting 3, no. 2 (2012): 141–55. http://dx.doi.org/10.1386/josc.3.2.141_1.

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32

Murphy, J. J. "The strange case of Ronald Tavel: Andy Warhol’s only screenwriter." Journal of Screenwriting 4, no. 1 (2012): 25–42. http://dx.doi.org/10.1386/josc.4.1.25_1.

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33

Roblin, Isabelle. "The Visible/Invisible Screenwriter: The Strange Case of Harold Pinter." Adaptation 7, no. 2 (2014): 180–90. http://dx.doi.org/10.1093/adaptation/apu006.

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34

Lajta-Novak, Julia, and Werner Huber. "‘Inaccurate but Truthful’: Q&A with Screenwriter Peter Morgan." European Journal of Life Writing 4 (July 6, 2015): R1—R15. http://dx.doi.org/10.5463/ejlw.4.165.

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In the spring of 2014, the University of Vienna in cooperation with the Ludwig Boltzmann institute for the history and Theory of Biography in Vienna organised an interdisciplinary lecture series “The Many faces of Biography”. This lecture series brought together scholars and practitioners of various historical and recent biographical forms, focusing on the specificities and challenges posed by different biographical media. One of them was Peter Morgan, a major name in contemporary biographical film-making (and playwriting), noted for his characteristic dual-structure approach to writing lives

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35

Chiasson, Basil. "An Interview with Jane Stanton Hitchcock." Harold Pinter Review 8 (October 2024): 61–71. https://doi.org/10.5325/haropintrevi.8.1.0061.

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ABSTRACT This article is an interview with Jane Stanton Hitchcock, a New York Times bestselling author and a playwright and screenwriter. She wrote Vanilla, the unpublished play that Harold Pinter directed the premier of in 1990. This interview was conducted on 16 October 2018 for the Harold Pinter Histories and Legacies research project.

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36

Lees, Belinda. "Representing the child-free woman in the twenty-first century biopic." Journal of Screenwriting 15, no. 2 (2024): 151–68. http://dx.doi.org/10.1386/josc_00149_2.

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This article responds to a gap in knowledge about how screenwriters represent the figure of the child-free woman as a protagonist in the twenty-first century biographical screen drama. My initial research into the twenty-first century biopics has uncovered problematic representations of women who are child-free, including the dehumanizing portrayal of actor Marilyn Monroe in the 2022 feature Blonde or the love-fixated writer Jane Austen in the 2007 biopic Becoming Jane or the pronatalist depiction of intrepid foreign correspondent Marie Colvin in . While theorists are aware of the negative rep

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37

Smith, Daniel Blake. "The (Un)Making of a Historical Drama: A Historian/Screenwriter Confronts Hollywood." Public Historian 25, no. 3 (2003): 27–44. http://dx.doi.org/10.1525/tph.2003.25.3.27.

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A historian-turned-screenwriter struggles to get his historical drama made into a feature film. In doing so, he discovers that, despite Hollywood's strong interest in his civil rights film project (a drama about the 1960 lunch counter sit-in protests in Greensboro, North Carolina), a host of forces unrelated to the merits of the story threaten the entire enterprise.

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38

Gerasimova, Aleksandra D., and Andrei L. Khokhryakov. "The Intermadial Transition of Pink Floyd’s Mother in The Wall by A. Parker (1982)." World Literature in the Context of Culture, no. 17 (2023): 138–51. http://dx.doi.org/10.17072/2304-909x-2023-17-138-151.

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The article considers the problem of transforming a piece of rock-poetry into an extra-meaning element in cinematography – using the example of the song Mother (R. Waters, 1979) by Pink Floyd, as a part of the film Pink Floyd: the Wall (dir. A. Parker, 1982). Along the song lyrics and the video footage, the article examines the film script, promoting the ‘songwriter – screenwriter’, ‘screenwriter – film director’, and ‘songwriter – film director’ interaction, resulting in a further perspective, introducing new characters, setting ties with other parts of the film. By combining the Mother lyric

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39

Carroll, Peter. "Ernest Hemingway, Screenwriter: New Letters on for Whom the Bell Tolls." Antioch Review 53, no. 3 (1995): 261. http://dx.doi.org/10.2307/4613165.

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40

Bollig, Ben. "The poet as screenwriter: Landscape and protagonism in Papu Curotto’s Esteros." New Cinemas: Journal of Contemporary Film 15, no. 2 (2017): 123–39. http://dx.doi.org/10.1386/ncin.15.2.123_1.

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41

Reinova, Anastasiia Vladimirovna. "David Hare – screenwriter: recognition of the playwright's idiosyncrasy in related genres." Philology. Theory & Practice 17, no. 11 (2024): 4062–67. http://dx.doi.org/10.30853/phil20240573.

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The purpose of the study is to search for a certain "reading code" of deep text–generating dominants and constants in the works of D. Hare using a comprehensive analysis of the script for the mini-series "Collateral" and the text of the play "Stuff Happens". The article examines the peculiarities of the functioning of the idiosyncrasy of a modern English playwright and screenwriter, who raises topical issues of politics and the world order in his works. The scientific novelty is due to the little-studied nature of the proposed material. The article presents for the first time a comprehensive c

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42

Mukhtarova, Mukhayо. "A QUESTION OF CHARACTER IN THE MOVIE "DUEL UNDER THE PLANE TREE"." Oriental Journal of Social Sciences 02, no. 01 (2022): 84–90. http://dx.doi.org/10.37547/supsci-ojss-02-01-10.

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This article analyzes the special characteristics of the film "Duel under the Plane Tree" by screenwriter Riksivoy Mukhammadjanov, which has a significant role in the development of the comedy genre in Uzbek cinema, and also examines the artistic and ideological features of the film, the achievements of its creative components and the significance in our modern cinema.

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Hasanovna, Ruzieva Saodat. "THE MANIFESTATION OF POSTMODERN TRADITIONS IN THE WORK OF DAVID MITCHELL." International Journal Of Literature And Languages 03, no. 04 (2023): 82–87. http://dx.doi.org/10.37547/ijll/volume03issue04-15.

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Postmodernism is a cultural movement that began to take shape in the second half of the 20th century and is characterized by the rejection of generally accepted ideas and standards. The work of David Mitchell, a British writer and screenwriter, has pronounced postmodern features. In this paper, we will consider what traditions of postmodernism are manifested in his works.

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44

Stanišić, Radoslav T. "The Documentaries and Short Films of Ratko Đurović and Velimir Stojanović." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 91–97. http://dx.doi.org/10.25038/am.v0i29.542.

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This paper shows the contribution of screenwriter Ratko Đurović and director Velimir Stojanović to documentaries and short films in general and not only in Montenegrin cinematography; in fact, this duo was unique as they were reformers of Yugoslav film expression. Article received: May 15, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper

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45

Dzholbulakova, CH A., and Ch A. Masekova. "THE ARTISTIC WORLD OF TALIP IBRAIMOV." Herald of KSUCTA n a N Isanov, no. 2-2020 (July 6, 2020): 231–36. http://dx.doi.org/10.35803/1694-5298.2020.2.231-236.

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The ideological and aesthetic originality of the artistic picture of the world of the screenwriter and prose writer, laureate of the Russian prize Talip Ibraimov are revealed in this article. An analysis of the poetics of the writer's works allows us to reveal the originality of the worldview foundations and the artistic method of the Kyrgyz writer, who writes in Russian.

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46

Bennett, Susan. "Godard and Lear: Trashing the Can(n)on." Theatre Survey 39, no. 1 (1998): 7–19. http://dx.doi.org/10.1017/s0040557400002994.

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In the late 1990s, the endlessly reinvented Shakespeare has apparently become a popular and successful screenwriter. The recent release of Richard III, William Shakespeare's Romeo + Juliet, Twelfth Night and Hamlet have brought an enthusiastic movie-going public to see, among other things, the Capulets and the Montagues on the beach and Hamlet striding through a cast of thousands at Elsinore. But this is not to suggest that this particular genre success is either new or inappropriate; the collection of artifacts known as Shakespeare (including but not limited to the plays themselves) has long

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Romanelli, Claudia. "From dialogue writer to screenwriter: Pier Paolo Pasolini at work for Federico Fellini." Journal of Screenwriting 10, no. 3 (2019): 323–37. http://dx.doi.org/10.1386/josc_00007_1.

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Pier Paolo Pasolini was a poet, novelist, essayist and filmmaker who also worked as a screenwriter for some of the most important Italian directors including Mario Soldati, Mauro Bolognini and Bernardo Bertolucci, to name a few. While Pasolini’s poems, novels and films are widely studied, his work as a screenwriter has not attracted much critical attention. This is partly because Pasolini tended to collaborate with directors whose artistic tastes were very different from his own, making it difficult to understand what he could possibly bring to the films on which he worked. The fact that he to

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48

Thorne, Sarah. "Hey Siri, tell me a story: Digital storytelling and AI authorship." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (2020): 808–23. http://dx.doi.org/10.1177/1354856520913866.

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Surveying narrative applications of artificial intelligence in film, games and interactive fiction, this article imagines the future of artificial intelligence (AI) authorship and explores trends that seek to replace human authors with algorithmically generated narrative. While experimental works that draw on text generation and natural language processing have a rich history, this article focuses on commercial applications of AI narrative and looks to future applications of this technology. Video games have incorporated AI and procedural generation for many years, but more recently, new appli

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49

HAWTHORN, RUTH. "Delinquent Dogs and the Molise Malaise: Negotiating Suburbia in John Fante's “My Dog Stupid”." Journal of American Studies 52, no. 3 (2017): 766–86. http://dx.doi.org/10.1017/s0021875817000408.

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This article explores ideas of suburban masculinity in “My Dog Stupid” (1986), a comic novella by the critically neglected novelist and screenwriter John Fante. Placing the text within the context of the twentieth-century suburban “canon,” I argue that Fante complicates and critiques the dystopian image of American suburbia that has dominated both fictional and sociological representations of this environment over the past seventy years.

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Villarejo, Amy. "Remembering Lesbians." Film Quarterly 77, no. 3 (2024): 62–68. http://dx.doi.org/10.1525/fq.2024.77.3.62.

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Abstract:

In August 2023, FQ Board member Amy Villarejo sat down with Phyllis Nagy, Academy Award–nominated screenwriter of the lesbian hit Carol (Todd Haynes, 2015), to talk about her newest project: a limited-series biopic of the writer Patricia Highsmith, whom Nagy knew from her early adulthood until Highsmith’s death in 1995. Their conversation asks what was at stake in the name “lesbian” now and then.

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