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Relevant bibliographies by topics / Screenwriters

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Journal articles

Academic literature on the topic 'Screenwriters'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Screenwriters"

1

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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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

Jensen, Viggo Holm. "Sid Field: Screenplay / Screenwriters Workbook." MedieKultur: Journal of media and communication research 4, no. 8 (1988): 2. http://dx.doi.org/10.7146/mediekultur.v4i8.784.

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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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6

Johnson, Beth, and Alison Peirse. "Genre, gender and television screenwriting: The problem of pigeonholing." European Journal of Cultural Studies 24, no. 3 (2021): 658–72. http://dx.doi.org/10.1177/13675494211006089.

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This article draws on the 2018 Writers Guild of Great Britain report ‘Gender Inequality and Screenwriters’, and original interviews with female screenwriters, to assess how the experience of genre plays out in the UK television industry. The report focuses on the experience of women, as a single category, but we aim to reveal a more intersectional understanding of their experiences. Our aim is to better understand the ways in which women are, according to the report, consistently ‘pigeonholed by genre and are unable to move from continuing drama or children’s programming to prime-time drama, c

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7

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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8

Shaerf, David. "Screenwriters and Screenwriting: Putting Practice into Context." New Writing 12, no. 2 (2015): 260–62. http://dx.doi.org/10.1080/14790726.2015.1039780.

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9

Readman, Mark. "Screenwriters and screenwriting: putting practice into context." Journal of Media Practice 16, no. 2 (2015): 173–75. http://dx.doi.org/10.1080/14682753.2015.1041810.

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10

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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