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Journal articles on the topic 'Screenwriters'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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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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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5

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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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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11

Vogler, Christopher. "Joseph Campbell Goes to the Movies: The Influence of the Hero’s Journey in Film Narrative." Journal of Genius and Eminence 2, Volume 2, Issue 2: Winter 2017 (2017): 9–22. http://dx.doi.org/10.18536/jge.2017.02.2.2.02.

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The influence of Joseph Campbell and his monomyth model on film narratives and motifs first became apparent forty years ago with the release of the first film in George Lucas’ Star Wars franchise in 1977. This article traces the wide adoption of Campbell’s ideas as tools for shaping movie stories and characters, due to the popularity of Star Wars and other fantasy adventure franchises cast in the Campbell monomyth mold, and the growing awareness of screenwriters, directors and studio executives that the hero’s journey is an effective tool for story development in any genre. Campbell’s original

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12

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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13

Gorton, Kristyn. "‘Storytelling is storytelling’: Resilience, gender and screenwriting in Fair City." Journal of Popular Television 10, no. 2 (2022): 139–53. http://dx.doi.org/10.1386/jptv_00075_1.

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This article explores the resilience of soap screenwriters and the resilient characters they create in soap opera through interviews with screenwriters on the Dublin-based soap opera Fair City (1989‐present). The article also draws on an interview with Brigie de Courcy, executive producer of Fair City, to highlight the effects of the coronavirus pandemic on soap operas. The interview reveals inherent characteristics of the soap genre, including the habitual viewing of its audience and the ways in which the soap narrative relies on the physical proximity of its actors. The interview also reflec

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14

Holland, Peyton. "Adaptation for Screenwriters, Robert Edgar and John Marland (2019)." Film Matters 14, no. 1 (2023): 59–62. http://dx.doi.org/10.1386/fm_00263_5.

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15

Leahy, Sarah. "Screenwriters in post-war French cinema: an overview." Studies in French Cinema 15, no. 1 (2015): 11–36. http://dx.doi.org/10.1080/14715880.2014.996448.

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16

Cake, Susan. "Writing for instructional screens: Expanding the scope for screenwriting practitioners." Journal of Screenwriting 13, no. 2 (2022): 245–59. http://dx.doi.org/10.1386/josc_00096_1.

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At the beginning of the pandemic, discussions in the Screenwriting Research Network questioned the validity of educating students for limited career opportunities as future screenwriters. Research into graduate pathways suggests employment opportunities for creative practitioners are far more complex with many creative practitioners embedded in diverse industries such as marketing, information technology and, primarily, the education sector. The rapid growth of online education presents a key opportunity for screenwriters to apply their craft skills and knowledge to an alternative disciplinary

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17

Sarakaeva, Elina A. "Dark Corporeality: Blood, Vampires and Erotics in the British TV Series “Dracula” 2020. Part 1." Corpus Mundi 2, no. 3 (2021): 125–52. http://dx.doi.org/10.46539/cmj.v2i3.49.

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The article analyzes the plot tropes of the British mini-series “Dracula”, produced by screenwriters S. Moffat and M. Gatiss, creators of the even more popular TV series “Sherlock”. The new “Dracula”, a mixture of black comedy and body horror, was produced by the BBC and shown on the streaming platform NETFLIX in 2020. The mini-series received the most controversial appraisals from viewers and art critics: from very enthusiastic to sharply negative. The author of this article examines the plot of the series “Dracula” and offers her own version of decoding its meanings. The article sequentially

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18

Lewis, Warren. "Scene Writing: The Missing Manual for Screenwriters, Chris Perry and Eric Henry Sanders (2022)." Journal of Screenwriting 13, no. 3 (2022): 389–90. http://dx.doi.org/10.1386/josc_00108_5.

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19

Symcox, Caroline. "Screenwriters as Theologians: Doctor Who’s Scope for Theological Exploration." Implicit Religion 18, no. 4 (2015): 565–74. http://dx.doi.org/10.1558/imre.v18i4.29092.

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20

Price, Steven. "Book Review: Screenwriters and Screenwriting: Putting Practice into Context." Critical Studies in Television: The International Journal of Television Studies 11, no. 3 (2016): 396–97. http://dx.doi.org/10.1177/1749602016662169e.

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21

Scholz, Juliane. "A professional history of screenwriters in Germany (1910–1945)." Journal of Screenwriting 7, no. 2 (2016): 173–89. http://dx.doi.org/10.1386/josc.7.2.173_1.

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22

Kitsnik, Lauri. "Scouting for scripts: Mizuki Yōko and social issue film in post-war Japan." Journal of Screenwriting 11, no. 3 (2020): 265–85. http://dx.doi.org/10.1386/josc_00033_1.

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During the heyday of the studio system in Japan in the 1950s, Mizuki Yōko (1910–2003) was one of Japan’s most prominent and celebrated screenwriters. Despite screenwriting being a markedly homosocial profession, Mizuki forged a remarkable career as a freelance writer, working both for major studios and independent productions. Her collaboration with directors such as Naruse Mikio and, above all, Imai Tadashi resulted in a string of critically acclaimed films. While Imai’s films were lauded by contemporary critics, his approach to directing has subsequently been regarded, especially by western

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23

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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24

Liddy, Susan. "In her own voice." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 19–31. http://dx.doi.org/10.31165/nk.2017.102.504.

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International research highlights a paucity of female screenwriters and directors in contemporary cinema. The consequences, in terms of employment equality and on-screen representations, have been well documented. However, few studies interrogate the film industry from the point-of-view of the female practitioners themselves. Certainly, these issues have not been comprehensively explored in an Irish context; something which this paper, as part of a wider study on Irish women screenwriters and writer/directors, sets out to address. An analysis of three in-depth, exploratory interviews wit

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25

Moshe, Mira, and Matan Aharoni. "The silent women: The representation of Israeli female soldiers in Israeli women’s films." Journal of Screenwriting 11, no. 3 (2020): 313–29. http://dx.doi.org/10.1386/josc_00036_1.

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Since the establishment of the State of Israel in 1948, Israel has known seven wars, seven prominent violent operations and numerous military conflicts. During this period (1948–2019), 86 Israeli screen stories have engaged with the motif of Israel’s military/wars. However, only two of them were written by women and focused on the female Israeli soldier. The marginal position of screen stories based on Israeli women’s experience in the military presents a unique opportunity to unravel the notions female screenwriters have of women’s conduct in a patriarchal military culture. Our findings sugge

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26

McArthur, Kerry. "Creative resistance tactics in the work of English Canadian screenwriters." Journal of Screenwriting 10, no. 1 (2019): 63–80. http://dx.doi.org/10.1386/josc.10.1.63_1.

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27

Perebinossoff, Philippe. "Television and film screenwriters: How to reach a global audience." Journal of Screenwriting 3, no. 1 (2011): 73–82. http://dx.doi.org/10.1386/josc.3.1.73_1.

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28

Redelmeier, D. A., and S. M. Singh. "Longevity of screenwriters who win an academy award: longitudinal study." BMJ 323, no. 7327 (2001): 1491–96. http://dx.doi.org/10.1136/bmj.323.7327.1491.

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29

De Brigard, Emilie. "Hollywood: Mecca of the Movies/ No One Knows Their Names: Screenwriters in Hollywood:Hollywood: Mecca of the Movies;No One Knows Their Names: Screenwriters in Hollywood." Visual Anthropology Review 11, no. 2 (1995): 112–13. http://dx.doi.org/10.1525/var.1995.11.2.112.

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30

Suardi. "AN ANALYSIS OF HUMOR SPEECH ACT OF THE BIG BANG THEORY AT CBS TELEVISION SERIES." Journal of Language and Literature 8, no. 2 (2020): 105–13. http://dx.doi.org/10.35760/jll.2020.v8i2.2782.

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Some of the problems faced by students in learning English are speech acts. This research focused on finding the speech acts. This study aims to get an overview of humor speech acts of the big bang theory. The qualitative descriptive approach will be used along with the content analysis technique. The result shows that: (1) there are three parts of speech acts used, including locutionary, illocutionary, and perlocutionary acts, (2) there is a violation of quantity, quality, relevance, and manner maxim. However, the most violation maxim was at the quantity maxim, (3) the screenwriters intention

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31

Vanderschelden, Isabelle. "Money for writing: screenplay development and screenwriters’ earnings in French cinema." Studies in French Cinema 16, no. 2 (2016): 118–33. http://dx.doi.org/10.1080/14715880.2016.1164418.

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32

Lai, Jocelyn Yi-Hsuan. "Dire-Straits: Taiwanese TV screenwriters in the neoliberal and authoritarian 2010s." Inter-Asia Cultural Studies 24, no. 5 (2023): 761–75. http://dx.doi.org/10.1080/14649373.2023.2243708.

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33

SCOTT, IAN. "RICHARD CORLISS, TALKING PICTURES: SCREENWRITERS IN THE AMERICAN CINEMA." Journal of American Studies 58, no. 1 (2024): 165–67. http://dx.doi.org/10.1017/s0021875824000094.

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34

Akhmedova, Zaripat Abdullaevna. "SCENOGRAPHY OF THE DAGESTAN STATE PUPPET THEATER." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 102–5. http://dx.doi.org/10.31029/vestiyali21/17.

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The article traces the important work of stage designers when creating performances in the Dagestan puppet theater. The author also reveals the innovation of original directions and approaches in the field of Dagestan scenography. The experience in scenography of past generations and new solutions in this area of modern screenwriters can be useful for further study of this special kind of art.

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35

Sengupta, Rakesh. "Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies." BioScope: South Asian Screen Studies 9, no. 2 (2018): 117–36. http://dx.doi.org/10.1177/0974927618813480.

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This article is an attempt to rethink the intermedial practice and discourse of screenwriting during the first Indian talkies through a study of the margins of print, theatre and film history. I engage with the unfortunate archival absence of film scripts from the early years as a heuristic rather than a handicap, employing intermediality both as an archaeological and a conceptual tool in reconstituting screenwriting as a converged media practice. I argue that the widespread circulation of screenwriting manuals for amateurs constituted a pedagogical infrastructure separate from, but parallel t

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36

Humphreys, Sheridan. "Rethinking our protagonists: Absence on screen and meta-narratives of empire." Journal of Screenwriting 13, no. 3 (2022): 361–74. http://dx.doi.org/10.1386/josc_00106_1.

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In this article I argue that responsibility for diversity needs to be inbuilt at a much earlier stage in the screen drama production process – from the very moment, indeed, when protagonists and plotlines are first conceived. Genuine diversity is everyone’s responsibility, not just the ‘diversity manager’ or ‘diversity initiative’. This is an issue for screenwriters, for the education of screenwriters and it is something that screenwriting research needs to explore. My focus falls here on historical drama, for which I argue that inbuilt diversity is especially pressing. Populist ideas about th

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37

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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38

Niyazova, Khafiza Khakimovna. "Eternal Heroes Of Uzbek Cinema." American Journal of Social Science and Education Innovations 02, no. 11 (2020): 614–22. http://dx.doi.org/10.37547/tajssei/volume02issue11-107.

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This article examines such films as “Tahir and Zuhra”, “Nasriddin in Bukhara”, “Alisher Nava’i”, which are some of the brightest samples of Uzbek cinema of the 20th century. We will talk about the history of these films, their creators - screenwriters, directors, cameramen, composers, artists, ensemble of actors and their performance skills. These films are analyzed from the point of view of cinematography, and their success and shortcomings are clearly stated.

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Vanderschelden, Isabelle. "Translating “l’esprit Canal” into comedy screenplays: Canal+’s role in the development of French comedy film trends." Contemporary French Civilization: Volume 46, Issue 3 46, no. 3 (2021): 329–54. http://dx.doi.org/10.3828/cfc.2021.20.

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This article retraces the trajectories of three selected groups of comedy actors, screenwriters, and directors discovered on Canal+ in the context of the evolution of the media group’s policies for comedy development practices for cinema. The article focuses on artists and television shows that served as platforms for entry into the cinema, including “Les Nuls,” “Les Robin des Bois,” Jamel Debbouze and Philippe Lacheau’s “La Bande à Fifi.”

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McVeigh, Margaret, and Clarissa Mazon Miranda. "How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage." Journal of Screenwriting 11, no. 3 (2020): 331–46. http://dx.doi.org/10.1386/josc_00037_1.

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The films of Latin American female screenwriters, Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru), have achieved international prominence in recent years. In this article we create new insights into the ways in which these screenwriters have developed scripts for films that have made a mark on the world stage. To this end we will investigate how this acclaim has been enabled by their screenwriting decisions which focus on the creation of women-centred films, as well as their use of the family story as a means of exploring contemporary social and political themes, t

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JaeOkChang and 이은옥. "A Study on Standard Contract for Screenwriters in the Field of Films." Journal of Sports and Entertainment Law 19, no. 1 (2016): 181–207. http://dx.doi.org/10.19051/kasel.2016.19.1.181.

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42

Joubin, Rebecca, and Sophia Nissler. "Escape to Germany in Syrian Television Drama: From Cross-Cultural Gender Constructions to Transnational Tropes of Masculinity and Homeland." Middle East Journal 75, no. 3 (2021): 428–47. http://dx.doi.org/10.3751/75.3.14.

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Looking at programs from the 1960s onward, this article shows the persistence and evolution of the gender imbalance in Syrian television characters' relationships with Germany. Before the 2011 uprising, screenwriters linked women charac ters to Germany as a way to challenge patriarchal standards of sexuality and gendered conceptions of national belonging. As the war has ensued, this trope has vanished. Meanwhile, long-standing narratives about men emigrating to Germany continue to represent abandonment of the homeland and have become intensified through nationalist nostalgia.

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Vermishova, P. I. "Russian society through the optics of serial production (on the example of the series "Kidney")." Abyss (Studies in Philosophy, Political science and Social anthropology), no. 1(27) (2024): 96–105. http://dx.doi.org/10.33979/2587-7534-2024-1-96-105.

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Abstract: any society in its development relies on a system of norms, rules, beliefs, and taboos, some of which are expressed implicitly. Among the «unmentioned» and insufficiently reflected topics are death and organ donation. Serial discourse seems to be one of the tools through which the problematic areas of our society are represented and thematized. Using the example of the series «Kidney», the author reveals images reflecting the views of the creators and screenwriters on modern social reality and its institutions.

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44

Tomasulo. "Teaching Creativity: A Practical Guide for Training Filmmakers, Screenwriters, and Cinema Studies Students." Journal of Film and Video 71, no. 1 (2019): 51. http://dx.doi.org/10.5406/jfilmvideo.71.1.0051.

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45

Loftin, Greg. "Writing-for-the-cut: What can screenwriters learn from film editors about storytelling?" Journal of Screenwriting 9, no. 1 (2018): 85–102. http://dx.doi.org/10.1386/josc.9.1.85_1.

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46

Neely, Alan. "Images: Mission and Missionaries in Contemporary Fiction and Cinema." Missiology: An International Review 24, no. 4 (1996): 451–78. http://dx.doi.org/10.1177/009182969602400401.

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During the present century, mission and missionaries have been the subjects of a significant number of twentieth-century novelists and screenwriters. Since the publication in 1921 of Somerset Maughm's short story “Rain” to John Hersey's 1985 novel The Call, there has been a steady stream of fictional and quasi-fictional depictions of Roman Catholic and Protestant missionaries, some extolling them, others not. Most of these fictional works have become movies. This essay represents an attempt to inventory and analyze the contents of these literary and cinematic portrayals.

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Miroshnychenko, M. "Director’s theme in the film adaptation of a literary work." Culture of Ukraine, no. 82 (December 13, 2023): 77–85. http://dx.doi.org/10.31516/2410-5325.082.09.

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The purpose of the article. The article focuses on the process of film adaptation as a transformation of a literary text into a cinematic one. This phenomenon is mostly considered from the point of view of literary studies: the construction of dramatic structure, typology, comparative studies, screenwriter’s creativity, etc. However, the role of the director in film adaptation remains beyond the attention of scholars. This study examines the specifics of the film adaptation process in terms of the influence of the director’s theme, which is a manifestation of his or her personality. The

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48

Arriaga Benítez, Juan Manuel. "El ars poetria en el cine: repercusiones de la teoría de la amplificación de Geoffrey of Vinsauf en la narrativa audiovisual." Medievalia 52, no. 1 (2020): 115–28. http://dx.doi.org/10.19130/medievalia.2020.52.1.0006.

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In this work it has been analized the participation of figures or techniques of amplification described by Geoffrey of Vinsauf, norman poet from 13th century, into the classical rhetoric dimensions known as dispositio (structure) and elocutio (style), so that I can exemplify how in film industry it can be witnessed its use in form of image design through cinematography, visual composition and scenic assembly. From this study, it is also possible to notice how screenwriters and directors have been able to offer moral or emotional meaning to the viewer.

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Forsyth, Scott. "The Writers: A History of American Screenwriters and Their Guild by Miranda J. Banks." Labour / Le Travail 79, no. 1 (2017): 283–85. http://dx.doi.org/10.1353/llt.2017.0022.

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50

Bielby, William T., and Denise D. Bielby. "Organizational Mediation of Project-Based Labor Markets: Talent Agencies and the Careers of Screenwriters." American Sociological Review 64, no. 1 (1999): 64. http://dx.doi.org/10.2307/2657278.

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