Relevant bibliographies by topics / Screenwriting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Screenwriting'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2025

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Journal articles on the topic "Screenwriting"

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Benis, Rita. "The origins of screenwriting practice and discourse in Portugal." Journal of Screenwriting 11, no. 1 (March 1, 2020): 27–44. http://dx.doi.org/10.1386/josc_00011_1.

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Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, f
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Batty, Craig. "Screenwriting studies, screenwriting practice and the screenwriting manual." New Writing 13, no. 1 (January 2, 2016): 59–70. http://dx.doi.org/10.1080/14790726.2015.1134579.

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Chiarulli, Raffaele. "«Strong Curtains» and «Dramatic Punches»: The Legacy of Playwriting in the Screenwriting Manuals of the Studio Era." Communication & Society 34, no. 1 (January 12, 2021): 109–22. http://dx.doi.org/10.15581/003.34.1.109-122.

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The Hollywood Golden Age was a revolutionary moment in the history of cinema and is pivotal to understanding the historical passage of a peculiar new art form –screenwriting. This early film period, from the Tens to the Sixties, was determined by key interactions between the respective forms of cinema and stage. Together, these interactions form a wider screenwriting “discourse.” There are reoccurring disputes in film scholarship over the paternity of the conventions and techniques of screenwriting. One solution is that techniques of theatre playwriting persisted extensively in the production
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Sawtell, Louise, Stayci Taylor, and Helen Jacey. "An interview with Helen Jacey." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 14–18. http://dx.doi.org/10.31165/nk.2017.102.503.

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Dr Helen Jacey is a screenwriter and script consultant, and teaches scriptwriting at Bournemouth University, UK. Her research interests include creative and critical approaches to screenwriting, screenwriting and gender, and screenwriting genre theory. Her book The Woman in the Story: Writing Memorable Female Characters (2010) was the first screenwriting guide for writers developing female driven projects. As a professional writer, she has written numerous film, television and radio projects for UK, US and European production companies and is currently developing a series of crime fiction nove
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Batty, Craig. "Editorial." Journal of Screenwriting 14, no. 2 (July 1, 2023): 109–11. http://dx.doi.org/10.1386/josc_00127_2.

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This abstract introduces the 14.2 issue of the Journal of Screenwriting. It recognizes the wide-ranging approaches to screenwriting research and the range of topics that are covered. It also refers to the large number of non-screenwriting peer reviewers who are now assessing articles for the journal. It then goes on to outline the issue’s contents.
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Batty, Craig. "‘Show Me Your Slugune and I'll Let You Have the Firstlook’: Some Thoughts on Today's Digital Screenwriting Tools and Aprs." Media International Australia 153, no. 1 (November 2014): 118–27. http://dx.doi.org/10.1177/1329878x1415300114.

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Today's market is inundated with digital screenwriting tools and apps. From the introduction of formatting software that promised to give writers access to industry standard screenplay layout (Final Draft, Celtx) comes an era in which technologists are seeking to influence screenwriting practice itself (Scrivener, Slugline, Plotbot, StorySkeleton). Although perhaps not as explicit in their claims of success as the plethora of seminars by screenwriting ‘gurus’, digital tools and apps do in some ways promise a range of solutions to everyday screenwriting problems, at the very least by assuring u
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Thom, Randy. "Screenwriting for Sound." New Soundtrack 1, no. 2 (September 2011): 103–12. http://dx.doi.org/10.3366/sound.2011.0013.

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Rossholm, Anna Sofia. "Ingmar Bergman’s screenwriting." Journal of Scandinavian Cinema 4, no. 2 (June 1, 2014): 165–71. http://dx.doi.org/10.1386/jsca.4.2.165_1.

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Millard, Kathryn. "Screenwriting/Teaching: Introduction." Media International Australia 85, no. 1 (November 1997): 91–92. http://dx.doi.org/10.1177/1329878x9708500113.

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Williamson, Dugald. "Screenwriting, Screen Teaching." Media International Australia 85, no. 1 (November 1997): 93–101. http://dx.doi.org/10.1177/1329878x9708500114.

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Dissertations / Theses on the topic "Screenwriting"

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Mullins, Anthony. "Screenwriting with Stanislavsky : Augmenting a Screenwriting Process Using Stanislavsky’s ‘System’." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366510.

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When screenwriter and doctoral candidate, Anthony Mullins, first started studying Konstantin Stanislavsky’s ‘system’ of performance and script analysis, he hoped the well-known acting technique would be a useful tool for screenwriters. Mullins assumed that because Stanislavsky’s technique analysed all the characters of a story (not just the protagonist) it would naturally be a more detailed approach than conventional techniques like the ‘three-act structure’. It also appeared that Stanislavsky’s ‘system’ had the added advantage of being familiar to actors, the very people who would eventually
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Fernandes, Bahia Baer Carlos. "Screenwriting in the era of binge-watching." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392833.

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Nástup VOD přinesl novou formu spotřeby obsahu: binge-watching. Tato práce zkoumá, jak tento posun začal ovlivňovat scénář seriálů, které jsou koncipovány tak, aby byly zhlédnuty hned po sobě (binge-watched).
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Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.

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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between
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Cake, Susan A. "Narrative comedy screenwriting: Facilitating self-directed, transformative learning." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116355/8/__qut.edu.au_Documents_StaffHome_StaffGroupH%24_halla_Desktop_Susan_Cake_Thesis.pdf.

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This creative practice-led research examines the author's transformative learning experience that was facilitated by writing narrative comedy screenplays. Critical reflection on experiences of change management informed the themes and characters in the proposed television series titled Fighting Fit. Critical feedback from a professional script editor, as an industry mentor, was incorporated into the writing process as part of the action research cycle. The exegesis examines the self-directed, transformative learning journey which revealed how parody can perform creative resistance to the corpo
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Maxwell, Nicholas Elliott, and nmaxwel1@bigpond net au. "Black Comedy and the Principles of Screenwriting/The Actions." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081212.123034.

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This exegesis will aim to research and analyse the conventions of writing a black comedy in a feature film script. As a screenwriter with a particular interest in black comedy, my aim is to explore the technical structures of black comedy in order to facilitate the writing of a tragicomic screenplay. We will attempt to define the components of black comedy and survey its origin in theatre and literature. The exegesis will aim to explore what components comprise the middle ground between drama and humour and position it in relation to the classical genres of tragedy and comedy. The ex
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Noble, Carol Susan. "'A people to come' : screenwriting the new social subject." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4088.

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In this thesis I am going to investigate they ways in which characters in script texts might be re-written in order to move them away from being narrative objects and towards a sense of them as ‘different social subjects’. By this I mean characters that are capable of multiple telling and that are portrayed as self-aware, self-determining individuals. Why should I want to do this? The 3-Act structure and the associated formula for creating characters, to which most modern films adhere, compels the screenwriter to objectify all of the individuals portrayed. One reason for this is that the formu
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Curran, Stephen Charles. "Early screenwriting teachers 1910-1922 : origins, contribution and legacy." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/13581.

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This thesis demonstrates the previously unacknowledged contribution made by early screenwriting teachers to the development of the Hollywood film industry from 1910 to 1922. Through a study of five key screenwriting teachers from the period, it shows the significant role played by such figures in the translation of playwriting theory and theatrical tradition into writing for film. Drawing on an extensive range of primary materials, including manuals and columns written for the fan and trade press, it demonstrates the role played by such teachers in the formation and codification of a set of wr
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McAulay, Alexander. "The western screenwriter in Japan : screenwriting considerations in transnational cinema." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/30896/.

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This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Ja
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Crittenden, Nicholas. "The generative image : visual screenwriting and the substance of screenplay structure." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368359.

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Ajayi, Olugbenga Bamidele. "Transcending the oral roots of screenwriting practices in the Nigerian cinema." Thesis, Bournemouth University, 2017. http://eprints.bournemouth.ac.uk/29007/.

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Nigeria has no developed tradition of screenwriting and films tend to be built on principles and techniques derived from oral heritage. Thus the oral and the performative dominate Nigerian film language. The core research problems and questions of this project revolve around how screenwriting practices can be evolved, given the strong influence of oral traditions. The key aim of my practice led research is to improve the quality of Nigerian films by building on and transcending the oral traditions, through developing a more visual and cinematic approach to screenwriting in Nigeria. The researc
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Books on the topic "Screenwriting"

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Grierson, Tim. Screenwriting. Lewes, East Sussex: Ilex, 2013.

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Frensham, Raymond G. Screenwriting. Chicago, Ill: McGraw-Hill, 2005.

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Kallas, Christina. Creative Screenwriting. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06114-0.

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Deemer, Charles. Practical screenwriting. Newburyport, MA: Focus Pub., 2005.

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Maras, Steven, ed. Ethics in Screenwriting. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54493-3.

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Stevens, Andrew. Screenwriting for Profit. New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315668659.

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Batty, Craig, ed. Screenwriters and Screenwriting. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137338938.

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Schellhardt, Laura. Screenwriting for dummies. 2nd ed. Indianapolis, IN: Wiley Pub., 2008.

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Wright, Kate. Screenwriting is Storytelling. New York: Penguin USA, Inc., 2009.

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Schellhardt, Laura. Screenwriting for dummies. New York, NY: Wiley, 2003.

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Book chapters on the topic "Screenwriting"

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Lang, Marty. "Screenwriting." In The Self-Sustaining Filmmaker, 60–77. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003295754-4.

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Batty, Craig. "Screenwriting studies, screenwriting practice and the screenwriting manual." In New Writing Explorations, 32–43. London: Routledge, 2025. https://doi.org/10.4324/9781003518297-6.

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Angler, Martin W. "Screenwriting Techniques." In Telling Science Stories, 157–80. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351035101-7.

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Macdonald, Ian W. "Screenwriting Studies." In Screenwriting Poetics and the Screen Idea, 216–26. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9780230392298_10.

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Greenberg, David J. "Screenwriting hacks." In Screenwriting for Micro-Budget Films, 49–64. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003138969-5.

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Batty, Craig, and Sandra Cain. "Screenwriting: Fictional Formats." In Media Writing, 192–229. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-52955-8_8.

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Batty, Craig, and Sandra Cain. "Screenwriting: Factual Formats." In Media Writing, 230–61. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-52955-8_9.

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Ksenofontova, Alexandra. "Anti-mimetic Screenwriting." In The Modernist Screenplay, 159–91. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50589-9_8.

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Millard, Kathryn. "Conclusion: Sustainable Screenwriting." In Screenwriting in a Digital Era, 178–85. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137319104_11.

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Price, Steven. "Historiographies of Screenwriting." In The Palgrave Handbook of Screenwriting Studies, 207–23. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20769-3_11.

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Conference papers on the topic "Screenwriting"

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Chen, Jing, Xinyu Zhu, Cheng Yang, Chufan Shi, Yadong Xi, Yuxiang Zhang, Junjie Wang, et al. "HoLLMwood: Unleashing the Creativity of Large Language Models in Screenwriting via Role Playing." In Findings of the Association for Computational Linguistics: EMNLP 2024, 8075–121. Stroudsburg, PA, USA: Association for Computational Linguistics, 2024. http://dx.doi.org/10.18653/v1/2024.findings-emnlp.474.

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Amira, Teimzit, and Bensebaa Tahar. "Screenwriting in an ILE of algorithmic." In 2012 International Conference on Information Technology and e-Services (ICITeS). IEEE, 2012. http://dx.doi.org/10.1109/icites.2012.6216636.

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Uehara, Daiki, Hiromitsu Shimakawa, and Fumiko Harada. "Improvement of Story-telling Advertisement According to Screenwriting Techniques." In 16th Conference on Computer Science and Intelligence Systems. PTI, 2021. http://dx.doi.org/10.15439/2021f72.

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Agrawal, Rakesh. "Inside the Jokes: TV Search Technology Yields Creative, Comedic Screenwriting." In SMPTE Technical Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001392.

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Solis, Augusto-Pavel. "THE POWER OF THE AUTHOR: PROTAGONIST PROFILE IN A PANDEMIC SCREENWRITING COURSE." In 14th annual International Conference of Education, Research and Innovation. IATED, 2021. http://dx.doi.org/10.21125/iceri.2021.2145.

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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatoriu
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Tipa, Violeta. "Ivan Turbincă’s story: the road to the big screen." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.11.

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One of the few masterpieces, created at the Moldova-film studio based on a work from the national classics, was and will remain the film Se caută un paznic/ Looking for a guard (1967) directed by Gheorghe Vodă, a film inscribed in the golden fund of national cinematography. Today, the film is of interest as a separate work, which managed to convey the author’s visions and his national spirituality, as well as the history of its creation. The materials kept in the funds of the National Archive of the Republic of Moldova allow us to restore more or less the epic of this cinematographic work, sta
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Journal articles Dissertations / Theses Books
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