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Journal articles on the topic 'Screenwriters Authors'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

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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2

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.

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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. M

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12

Borbat, T., and I. Yachmyanova. "ETNAGRAFIZM WORKS V.L. KARATKEVICH (BASED ON THE NOVEL “SPIKES UNDER YOUR SICKLE”)." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 190–98. http://dx.doi.org/10.17721/2075-437x.2019.35.19.

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The article is devoted to the study of the distinctive feature of V. Korotkevich’s idiostyle, in particular, the folklore and ethnographic reflection of objective reality, the maximum and immediate proximity of themes, topics and visual means of the social and historical life of people, their traditional artistic creation-folklore, images and typical symbols of this people , to a living folk language in the diversity of its dialectal features. The historical paths of Belarus, the daily life of Belarusian people, their identity, the Belarusian Polesie along with its inhabitants, including flora

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13

Boudon, Héloise, and Katharina Niemeyer. "Fidelity as Interseriality: The Challenges of Adapting the Québécois Television Series Les Invincibles for Broadcast in France." Canadian Journal of Communication 41, no. 4 (2016). http://dx.doi.org/10.22230/cjc.2016v41n4a3114.

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This article takes a closer look at the processes of transcultural adaptation by focusing on the French-Canadian television series Les Invincibles (Radio-Canada, 2005), which was adapted for the French-German cultural channel ARTE in 2010. Based on recent developments in adaptation studies, the authors discuss the question of fidelity as interseriality on two adaptation levels: production process and the diegetic world. Their interest lies in how this example of a multi-faceted, hybrid format impacts upon representations of identities and cultural specificities when it comes to its transcultur

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14

Alessandra Donati, Alessandra Donati, and Eliana Romanelli. "L’opera d’arte video tra diritto e mercato." Sciami | ricerche 6, no. 1 (2019). http://dx.doi.org/10.47109/0102260108.

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Despite being a form of art that dates back in time, the work of video art still struggles today to find a shared legal framework. There is a risk to associate video art with other more traditional artistic forms and this risk has prevented video art from attributing its own autonomy, independence and expressive specificity. Artists’ videos are not listed among the works expressly protected by Italian Law no. 633/1941 (Law on protection of copyright and moral rights), with all the consequences in terms of determining the holders of the moral and patrimonial rights of the author and the divisio

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15

Hightower, Ben, and Scott East. "Protest in Progress/Progress in Protest." M/C Journal 21, no. 3 (2018). http://dx.doi.org/10.5204/mcj.1454.

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To sin by silence, when we should protest,Makes cowards out of men.— Ella Wheeler WilcoxProtest is culturally entwined in historical and juro-political realities and is a fundamental element of the exercise of individual and collective rights. As our title notes, while there are currently many ‘protests in progress’ around the world, there is also a great deal of ‘progress in protest’ in terms of what protests look like, their scale and number, how they are formed and conducted, their goals, how they can be studied, as well as the varying responses formed in relation to protest. The etymology

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16

Starrs, Bruno. "Publish and Graduate?: Earning a PhD by Published Papers in Australia." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.37.

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Refereed publications (also known as peer-reviewed) are the currency of academia, yet many PhD theses in Australia result in only one or two such papers. Typically, a doctoral thesis requires the candidate to present (and pass) a public Confirmation Seminar, around nine to twelve months into candidacy, in which a panel of the candidate’s supervisors and invited experts adjudicate upon whether the work is likely to continue and ultimately succeed in the goal of a coherent and original contribution to knowledge. A Final Seminar, also public and sometimes involving the traditional viva voce or or

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17

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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