Relevant bibliographies by topics / Screenwriters Authors

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Academic literature on the topic 'Screenwriters Authors'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Screenwriters Authors"

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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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Yeung, Jessica Siu-yin. "Intermedial Translation as Circulation." Journal of World Literature 5, no. 4 (2020): 568–86. http://dx.doi.org/10.1163/24056480-00504005.

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Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and filmmakers. The films resulting from these collaborations repositioned Taiwan as a m
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Prokhorov, Artem. "Russian web series: Mastering the new format." Journal of Screenwriting 12, no. 1 (2021): 25–37. http://dx.doi.org/10.1386/josc_00046_1.

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The article studies how domestic screenwriters and directors are exploring the web series format that started actively developing in Russia only five years ago. Both series produced for major internet platforms and indie projects created by independent studios in the past five years are reviewed. The article analyses how Russian authors understand and take into account in their work the specifics of the new field, as well as the format-forming features of web series that have developed abroad. Such aspects as the lack of censorship, freedom from severe restrictions on story genres and heroes’
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Alves-Costa, Lucas Piter. "Comutação autoral e a problemática da unidade "autor-obra" nos quadrinhos." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (2018): 75–92. http://dx.doi.org/10.5007/2175-8026.2018v71n2p75.

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This work aims to discuss the notion of Author and Work as correlates and their insertion into a problematic of unity between these notions, in a perspective based on Foucault (2008, 2009). From AUTHOR (year), Maingueneau (2006) and Bourdieu (1996), the Comics are taken, in this work, as a relatively autonomous institution that engenders a field of activities, the quadrinistic field, in which subjects positioned as authors, mediators and readers act in the elaboration, sustentation and legitimation of the names of Authors. The discussion about the Autor-Obra unit is based on the author's commu
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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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Sen, Priyanjali. "Author–Screenwriter– Director (1930s–1950s): Articulating Authorship Through Self-Adaptations and Film Novelisations in Bengali." BioScope: South Asian Screen Studies 11, no. 2 (2020): 169–86. http://dx.doi.org/10.1177/0974927620983952.

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During the 1930s, one of the significant factors that strengthened the connection between Bengali literature and film was the emergence of certain key figures who straddled overlapping roles as author–screenwriter–director, frequently adapting their own literary works and reframing the contentious ‘authorship issue’ that arises between writer and filmmaker. By focusing on three such figures—Premankur Atorthy (1890–1964), Sailajananda Mukhopadhyay (1901–1976) and Premendra Mitra (1904–1988)—this essay examines the manner in which self-adaptations served to transfer the power of the literary aut
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Naraine, Mala D., Margot R. Whitfield, and Deborah I. Fels. "Who’s devising your theatre experience? A director’s approach to inclusive theatre for blind and low vision theatregoers." Visual Communication 17, no. 1 (2017): 113–33. http://dx.doi.org/10.1177/1470357217727678.

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In this article, the authors present the first documented implementation of a director-produced and delivered audio description (AD) for devising theatre. In a single live, audio-described performance of Highway 63: The Fort Mac Show at Theatre Passe Muraille in Toronto, Canada, the director/describer’s artistically informed approach focuses on entertainment value for blind and low vision (B/LV) theatregoers. In-depth, semi-structured interviews with the director/screenwriter/describer garnered insight into a director’s unique perspective on the development process for the integrated approach
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Raw, Laurence. "Psychology and Adaptation: the Work of Jerome Bruner." Linguaculture 2014, no. 1 (2014): 89–101. http://dx.doi.org/10.1515/lincu-2015-0018.

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Abstract This article offers a view as to why Jerome Bruner should become an important figure in future constructions of adaptation theory. It will be divided into three sections. In the first, I discuss in more detail his notions of transformation, paying particular attention to the ways in which we redefine ourselves to cope with different situations (as I did while visiting two specific museums in Vienna and Samos). The second will examine Bruner’s belief in the power of narrative or storytelling as ways to impose order on the uncertainties of life (as well as one’s expectations from it) th
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MAYER, SANDRA. "MAKING MISCHIEF: DAVID HARE AND THE CELEBRITY PLAYWRIGHT’S POLITICAL PERSONA." Persona Studies 5, no. 2 (2020): 38–52. http://dx.doi.org/10.21153/psj2019vol5no2art914.

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This article examines the fashioning of the authorial persona of British playwright, screenwriter, and director David Hare through autobiographically inflected extra-theatrical interventions. Both exploratory and explanatory companion pieces that frame his artistic work, Hare’s lectures, essays, and memoir capture and stage the field migrations between art and activism that lie at the heart of his public profile as a politically engaged celebrity playwright and astute social commentator. It will be shown how Hare exploits the generic properties of non-fictional life-writing formats that raise,
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Petraru, Ana-Magdalena. "Genesis and Other Biblical Events Depicted in Postmodern Drama." Theatrical Colloquia 8, no. 2 (2018): 283–300. http://dx.doi.org/10.2478/tco-2018-0022.

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Abstract A complex person (novelist, playwright, screenwriter, translator), George Tabori, pen name of György Tábori, born in Budapest in 1914, was little acclaimed in North America where he spent twenty years of his life and left a mark on the German culture of the 20th century. Due to his cathartic black humour, he overcame the tragic experience of the Holocaust that took away from him almost all his family. Known in post-war drama especially by means of his anti-Hitler farce Mein Kampf (1987) which he authored, directed and acted in, Tabori even took the East-German public by surprise with
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Dissertations / Theses on the topic "Screenwriters Authors"

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Magnéli, Johan. "Write or Perish : How Screenwriters Author their Careers." Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-123092.

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The aim of the present study was to investigate how the impermanence of contract work affects working lives, self-perceptions and the career strategies of Swedish screenwriters of finding and keeping work. Furthermore, it also explored how screenwriters experience their abilities to exercise authorial leverage over media content. Introducing the concept of “career authoring” to cover different aspects of the professional lives of screenwriters such as managing a career, establishing authorship and contractual negotiations, the study was able to embrace various mind-sets and strategies for care
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Books on the topic "Screenwriters Authors"

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Copyright Paperback Collection (Library of Congress), ed. Grand delusion. New American Library, 2000.

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Francke, Lizzie. Script girls: Women screenwriters in Hollywood. British Film Institute, 1994.

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Harutʻyunyan, Gayane. Ekar, zarmatsʻrir, gnatsʻir ... Ēdit print, 2005.

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Benacquista, Tonino. Saga. Einaudi, 1998.

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Jan, Lukeš. Hry doopravdy: Rozhovor se spisovatelem Karlem Peckou. Paseka, 1998.

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Gilles, Vanderpooten, ed. Utopie, quand reviendras-tu?: Vers une folie salutaire. Éditions de l'Aube, 2015.

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Michel Audiard: La vie d'un expert. Dreamland, 2001.

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Lara, Fernando. Miguel Mihura en el infierno del cine. Semana Internacional de Cine de Valladolid, 1990.

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Durant, Philippe. Michel Audiard, ou, Comment réussir quand on est un canard sauvage. Cherche-midi, 2005.

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Śrīdēvi, Muḷlapūḍi. Kosaru kommacci: Muḷlapūḍiki nivāḷi = Kosaru kommachi : tribute to Mullapudi Venkata Ramana. Hāsaṃ Pracuraṇalu, 2014.

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Book chapters on the topic "Screenwriters Authors"

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Wexman, Virginia Wright. "Preston Sturges, Sullivan’s Travels, and Film Authorship in Hollywood, 1941." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0002.

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This chapter conducts a reading of Preston Sturges’s 1941 film Sullivan’s Travels that focuses on its discourses about film authorship. While the auteurism that drives much film criticism today routinely approaches directors as authors, in 1941 the case for directors had yet to be made in unequivocal terms. Drawing on archival materials housed at UCLA, including unproduced scripts and correspondence, the chapter argues that Sturges used the vehicle of Sullivan’s Travels to argue that neither producers nor stars like Veronica Lake can be taken seriously as authors. However, the film remains ambivalent about the rival claims to authorship mounted by screenwriters and directors. The reasons that lay behind this ambivalence arose from Sturges’s belief that, while screenwriters were the most important authors, directors were the ones who held the power in Hollywood.
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Regev, Ronny. "Writing." In Working in Hollywood. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0003.

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Wordsmiths were torn between their desire for the creative control traditionally enjoyed by authors and the available economic security offered by working for the movies and writing scripts. Their story is a story of assimilation. When Hollywood entered the sound era a flock of writers, including Charles Brackett and Samson Raphaelson, emigrated to the city and to the world of motion pictures from other fields of writing such as theater and magazines. They oscillated between creative worlds, between East Coast and West Coast, and their previous experience shaped their response and interaction within the studios. The chapter demonstrates that while contending with an ignoble division of labor, which all but shattered the once respected authorial voice, screenwriters also carried with them some of the cultural capital and legitimacy of the more established worlds they came from.
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Perrotta, Maria Antonella. "Theater School." In Handbook of Research on Didactic Strategies and Technologies for Education. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2122-0.ch041.

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The “Teatro a Scuola” (Theater School) project, directed at 14-18 year-old, Real innovation lies in the involvement of students as writers, in a collaborative theatrical storytelling. During the theater workshop the teacher in charge of the project planned and implemented with the participants experimental activity that was inserted within the Italian program. Its purpose is to stimulate participants’ creativity. It aims at to become an integral part of the activities foreseen by the school syllabus and to offer, next to the traditional learning method, a form of learning by doing. The project consists in three distinct, yet interdependent, moments: a first theoretical stage, which foresees a short series of lessons on the history of theater; a second stage dedicated to a theater workshop (elocution, lively reading, mime, song, dance etc.); and a final show, i.e. a genuine theatrical representation for the whole school and all citizens. Characteristics of innovation and experimentation of the project were that: students were not only actors but also authors and screenwriters; also, the project involved elders of the University of the Third Age (NGO)
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"3. The Author at the Dream Factory: The Screenwriter and the Movies." In Body Double. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813554501-005.

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Glatt, Stephen J., Stephen V. Faraone, and Ming T. Tsuang. "What is Schizophrenia?" In Schizophrenia. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813774.003.0006.

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Many who pick up this book will be learning about schizophrenia for the first time, either because someone they care about has recently been diagnosed, or purely out of academic interest. As such, we aim to paint a very clear and basic picture of the disorder, and avoid jargon as much as possible (though sometimes this cannot be avoided). The first impression many people get about schizo­phrenia, however, is formed before they ever meet someone with the disorder, through exposure in films, television, or literature. Some of these portrayals are fair and accurate depictions of particular aspects of schizophrenia, and may be useful to review in combination with this book to help the reader develop a fuller picture of the disorder (though none is perfect in all regards). For ex­ample, some aspects of John Nash’s struggles with schizophrenia in the film A Beautiful Mind, and those of Nathaniel Ayers in The Soloist, ring true with these individuals’ first- person accounts of the disorder. The reality of schizophrenia has also been reasonably well captured in fictional films such as Clean, Shaven; Donnie Darko; and The Fisher King. Yet, far more commonly schizophrenia is portrayed in an unrealistic and unflattering light by authors and screenwriters, which adds to the stigma and negative views of the disorder held by many who have no first- hand experience of the illness. We will cover some examples of these faulty depictions later in the chapter ‘What is not schizophrenia’, but here, let us continue to describe the main facts about the disorder. Please keep in mind that schizophrenia is one of the most complicated and variable human disorders. Although this is a textbook on schizophrenia, there are no ‘textbook cases’ of schizophrenia. As such, you may sometimes find your­self reading these facts and thinking, ‘that doesn’t sound like what I’ve seen or experienced’. We try to paint as broad a picture of schizophrenia as possible to provide the reader with the best chance of recognizing and understanding schizophrenia when they see it. We use anecdotes about cases to illustrate fea­tures of the disorder, but these may not be relevant to the schizophrenia that you have seen.
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Fan, Victor. "Breaking the Wave." In Extraterritoriality. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.003.0003.

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This chapter asks the question: Can women filmmakers, cinematic spectators, and televisual viewers speak from their doubly––sociopolitically and gendered––extraterritorialised position? It -historicises the theoretical discourse and film practice of the first phase (1968–78) of the Hong Kong New Wave from the perspectives of women filmmakers and critics. It also discusses three different ways by which women speak through the cinema and television as authors, all aiming to establish what Pier Paolo Pasolini (1922–75) would call a free indirect discourse. For independent filmmaker Tang Shu-hsuen, through unlearning Euro-American aesthetics and relearning medieval Chinese one from the perspective of modern women, a cinema specific to the extraterritorial position of a Hong Kong female spectator can be fostered. For screenwriter Joyce Chan and her collaborator director Patrick Tam, a free indirect discourse can only be achieved when the addresser-message-addressee mode of communication in commercial television is actively challenged. Finally, for director Ann Hui and screenwriter Shu Kei and Wong Chi, the classical Hollywood paradigm can be reconfigured to enable desubjectivised and abjectivised gay male characters to negotiate their traumas and desires in terms that are understandable by heterosexual and heteronormative viewers.
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Belodubrovskaya, Maria. "Screenwriting." In Not According to Plan. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501709944.003.0005.

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Throughout the Stalin period cinema experienced a perpetual “scenario crisis,” or a shortage of suitable screenplays. This was due to the lack of professionalization in Soviet screenwriting and to the director-centered mode of production. Studios had no personnel to convert potential stories into solid, censorship-proof scripts, and directors had an outsized role in screenwriting through the practice of the director’s scenarios. Lacking a large contingent of professional screenwriters who could write on order, the industry focused on mobilizing established writers to author high-quality literary screenplays. Writers did not deliver masterpieces, while weakening censorship and making it only more difficult to produce films on a large scale.
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Louter, Jan. "Letters from Los Angeles." In John Fante's Ask the Dust. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287864.003.0016.

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In this series of letters written to a friend back home in the Netherlands, Dutch filmmaker Jan Louter describes the time he spent in Los Angeles making his 2001 documentary A Sad Flower in the Sand. Equal parts meditation on Ask the Dust and impressionistic travelogue throughout the city and as far afield as the Mojave Desert, the letters give voice to Louter’s deep appreciation of John Fante’s art. Rich with sketches of such other important people in the Fante orbit as John’s wife Joyce, their son Dan Fante, and screenwriter Robert Towne, the writing in these letters conveys a penetrating European perspective on Fante’s masterpiece and a profound sympathy for its wounded author.
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Rose, Jonathan. "Student Power." In Readers' Liberation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198723554.003.0005.

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In 1916 Columbia University dropped its Latin requirement for admissions, effectively opening its doors to the striving sons of immigrants. Thus (in a word) it became the first Ivy League school to deal with the issue of diversity. In the same year, Professor John Erskine proposed what became the General Honors course, Columbia’s celebrated core curriculum of Great Books. Much later that program would come under fire for not including enough female and non-Western authors—but measured against the standards of its time, it was strikingly democratic, inclusive, and anti-authoritarian. The students who were now entering, educated at public schools, lacked the common classical training of prep-school boys, so Erskine aimed to teach them a shared body of literature that was far more broad and accessible. It took the Classics Department a year to get through Herodotus in the original: General Honors covered him (in translation) in a week. And Erskine’s definition of “Great Book” was clearly flexible: he envisioned that the reading list would be revised from year to year, and at first it was. The aim was not to follow a rigid canon, but to create the basis for a common conversation. And so it did: the early cohort of students included young men who would go on to shape intellectual discourse in mid-century America: Lionel Trilling, Jacques Barzun, Clifton Fadiman, Whittaker Chambers, Joseph Mankiewicz (future screenwriter and director), and Leon Keyserling (later Harry Truman’s top economic advisor), with Mark Van Doren and Mortimer Adler serving as instructors. Early in his teaching career, Erksine explained his liberation pedagogy: . . . A college course in literature should provide for two things—the direct contact of the student’s mind with as many books as possible, and the filling in of any gaps in his sympathy with what he reads. Almost all the great books were intended for the average man, and the author contemplated an immediate relation with his audience. There is room for the annotator or teacher only when time has made the subject remote or strange, or when the reader’s imagination is unable to grasp the recorded experience . . . If the student’s task is to read great books constantly, the teacher’s part [is] to connect the reading with the pupil’s experience . . . . . .
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"Heralded as a playwright, screenwriter, and director, Sir David Hare has enjoyed a professional career that has stretched across more than 40 years. His time in the theater has been marked by several triumphs, including Plenty, The Blue Room, and Stuff Happens, and in 2011 he was awarded the PEN Pinter Prize for his thought-provoking and politically engaging oeuvre. Hare’s transition to film began in earnest in the 1980s when he wrote and directed Wetherby (1985), which won the Golden Bear at the Berlin Film Festival, Paris by Night (1988), and Strapless (1989). But a growing dissatisfaction with his films inspired him to refocus on theater, where he wrote his celebrated trilogy of plays about British life—Racing Demon, Murmuring Judges, and The Absence of War—in the early 1990s. Thankfully, Hare returned to screenplays with his terrific script for Louis Malle’s Damage (1992), a portrait of obsessive, doomed love based on Josephine Hart’s novel. More recently, he has received Academy Award nominations for his adapted screenplays for The Hours (2002) and The Reader (2008), which won, respectively, Nicole Kidman and Kate Winslet the Oscar for Best Actress. He also worked to adapt author Jonathan Franzen’s 2001 novel, The Corrections, into a feature film. His plays Plenty and The Secret Rapture have been adapted into films, and in 2011 he wrote and directed the conspiracy thriller Page Eight, which starred Bill Nighy, Rachel Weisz, and Michael Gambon." In FilmCraft: Screenwriting. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-34.

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