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Books on the topic 'Script collaborativi'

Author: Grafiati

Published: 10 March 2023

Last updated: 31 July 2025

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1

Seger, Linda. From script to screen: The collaborative art of filmmaking. H. Holt, 1994.

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2

Jay, Whetmore Edward, ed. From script to screen: The collaborative art of filmmaking. 2nd ed. Lone Eagle, 2004.

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3

Horn, Erica Van. Scraps of an aborted collaboration. Coracle, 1994.

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4

Laru, Jari. Scaffolding learning activities with collaborative scripts and mobile devices. University of Oulu, 2012.

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5

1963-, Stevens Matt, ed. Script partners: What makes film and TV writing teams work. Michael Wiese Productions, 2002.

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6

Lazarevic, Persida, and Sanja Roic, eds. Cronotopi slavi. Studi in onore di Marija Mitrović. Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-428-8.

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Cronotopi slavi raccoglie diversi saggi scritti in onore di Marija Mitrovi&#263; da amici, colleghi e collaboratori delle Università di Trieste, Belgrado, Bloomington, Mainz, Torino, Chieti-Pescara, Udine, Zagabria, Fiume e Pola, che hanno condiviso e condividono con lei la passione per la slavistica e gli studi umanistici. Il volume comprende anche la bibliografia dei lavori dell’eminente studiosa dell’Università degli Studi di Trieste.

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7

Seger, Linda. Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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8

Seger, Linda. Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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9

Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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10

Seger, Linda. Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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11

Collaborative Art of Filmmaking: From Script to Screen. Taylor & Francis Group, 2019.

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12

Raubicheck, Walter, and Walter Srebnick. From Treatment to Script. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036484.003.0003.

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This chapter looks at Hitchcock's involvement in creating the plot and text of his scripts. It studies the various drafts of the films under consideration, revealing three distinct objectives as Hitchcock monitors them: the removal of what he called “no scene” scenes; the addition of some strongly visual shots or the elaboration of a scene to provide increased insight into a character, usually without new dialogue; and the removal of dialogue that did not add anything substantial to characterization or merely indicated some idea that the camera had already conveyed. Between the first draft and

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13

Knopf, Robert. Script Analysis for Theatre. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781408183267.

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Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production provides theatre students and emerging theatre artists with the tools, skills and a shared language to analyze play scripts, communicate about them, and collaborate with others on stage productions. Based largely on concepts derived from Stanislavski’s system of acting and method acting, the book focuses on action - what characters do to each other in specific circumstances, times, and places - as the engine of every play. From this foundation, readers will learn to distinguish the big picture of a script, diss

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14

Stevens, Matt, and Claudia Johnson. Script Partners: What Makes Film and TV Writing Teams Work. Michael Wiese Productions, 2003.

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15

Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production. Bloomsbury Publishing Plc, 2017.

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16

Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production. Bloomsbury Publishing Plc, 2017.

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17

Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production. Bloomsbury Publishing Plc, 2017.

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18

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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19

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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20

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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21

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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22

Stevens, Matt, and Claudia Johnson. Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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23

Script Partners: How to Succeed at Co-Writing for Film and TV. Taylor & Francis Group, 2016.

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24

Raubicheck, Walter, and Walter Srebnick. Final Drafts. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036484.003.0004.

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This chapter examines the characters and themes of the shooting scripts rather than of the three films themselves. It considers whether or not the screenwriters had written for Hitchcock in ways that suited his own particular visual style. These scripts represent the fullest extent of the collaborative process that began when the writer first sat with the director in his office to discuss the possibilities for narrative and character development inherent in the source material; they also highlight the particular verbal talents of the writers, talents that Hitchcock himself did not possess; and

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25

9TimeZones.com: An eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris, 1999.

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26

Baird, Alan C., and Aniko J. Bartos. 9TimeZones.com - an eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris Corporation, 1999.

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27

Baird, Alan C., and Aniko J. Bartos. 9TimeZones.com - an eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris Corporation, 1999.

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28

9TimeZones.com: An eMail screenplay collaboration between Hungary and L.A. (includes first draft script 'The Fall In Budapest'). Xlibris, 1999.

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29

Li Lan, Yong. Translating Performance. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.37.

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This chapter reflects on the doubleness of translation as the condition of existence of Asian performances of Shakespeare. It begins with the experience of hearing echoes of the original English lines when listening to Shakespeare’s texts translated into a language one does not speak. To address the interculturality of reception of Asian Shakespeare performances, the Asian Shakespeare Intercultural Archive (A|S|I|A, http://a-s-i-a-web.org), a collaborative project by scholars, translators, and practitioners, developed an approach to archiving production videos, scripts, and data in four parall

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30

Giordano, Cristiana, and Greg Pierotti. Affect Ethnography. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350374843.

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Playing with the relation between truth and representation in the stories we tell as ethnographers, this book contributes to the current debates around experimental research methodologies and ethnographically grounded theatrical forms. It departs from other studies in the field by proposing a unique and easily followed methodology that brings together theatrical devising practices and anthropology. Through its theoretical exploration and performative script, the book bridges the relation between ethnographic writing and performativity, and simultaneously troubles conventional narrative practic

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31

Singleton, Brian. Irish Theatre Devised. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.36.

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Since the early 1980s, a considerable debate has grown up around the centrality of the written script in Irish theatre. While the major artist in many other European theatre cultures was the director or the scenographer, Irish theatre remained dominated by the writer. However, with an expansion in the number of theatre companies, an increasingly globalized culture, and new forms of Irish actor training, companies began to emerge whose work did not begin with a playwright. In some companies, such as Corn Exchange, work is devised with the collaboration of writer, director, and the ensemble. In

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32

Turn That Thing Off!: Collaboration and Technology in 21st-Century Actor Training. Taylor & Francis Group, 2018.

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33

Bonczek, Rose Burnett, Roger Manix, and David Storck. Turn That Thing Off!: Collaboration and Technology in 21st-Century Actor Training. Taylor & Francis Group, 2018.

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34

Turn That Thing Off!: Collaboration and Technology in 21st-Century Actor Training. Taylor & Francis Group, 2018.

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35

Davis, Jim. Writing for Actors. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0013.

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Dibdin’s younger son Thomas’ work as a dramatist reveals both change and continuity in expectations of dramatic authorship and theatrical practice in the early nineteenth century. This chapter explores the collaborative nature of Dibdin’s writing: his scripts were not finished literary texts, but raw materials designed to be fully realized only in performance, as celebrated actors brought their own contributions to their roles. While the results were immensely popular with audiences, these methods came under increasing fire from critics such as Leigh Hunt, who damned Dibdin for failing to live

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36

Stanley, Deborah B. Practical Steps to the Research Process for High School. Greenwood Publishing Group, Inc., 1999. http://dx.doi.org/10.5040/9798216188353.

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These hands-on lessons for teaching the research process will help you effectively teach information skills, while implementing current national information literacy standards. Stanley offers strategies that connect standards to content area units of study, sharing dozens of successful collaboratively planned and taught research lessons. Detailed learning activities for each of the six research skills demonstrates how this process meets the needs of today's students as well as the requirements of many current educational trends and reforms-technology integration, literacy, critical thinking, c

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37

Baer, William. Classic American Films. Praeger, 2007. http://dx.doi.org/10.5040/9798400627170.

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Classic American Filmsexplores the origin and development of many of the most influential and revered films in cinema history, and does so with the aid and insight of the people who actually wrote the screenplays. These lively, candid, in-depth interviews are filled with fascinating new material (details, anecdotes, judgments, and opinions) about the creative and collaborative processes that went into the making of these extraordinary films. In the past, Hollywood screenwriters—the original artists—have often been overlooked. This book is a special tribute to the invaluable contributions of th

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38

Bonczek, Rose Burnett, Roger Manix, and David Storck. Turn That Thing Off! Routledge, 2018.

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39

Porter, Eric. Improvising the Future in Post-Katrina New Orleans. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.16.

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This chapter examines how New Orleanians in the post-Katrina era have drawn upon African American–rooted parade traditions, especially the practice of second lining, to respond to what some have called the biopolitical order in New Orleans, particularly those aspects of it related to state and criminal violence. Some parades have been organized by long-established social aid and pleasure clubs and other traditional African American networks; some are the product of emergent cultural and political formations. Such acts may be viewed as improvised responses to a biopolitical order that is itself

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40

Arbib, Michael A. When Brains Meet Buildings. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780190060954.001.0001.

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Understanding our brains can enrich our understanding of the ways we act and interact in a complex world, and how our experience of the built environment helps shape who we are and yet can be shaped by us in turn. This book presents action-oriented perception, memory, and imagination as keys to unlocking the neuroscience of the experience and design of architecture, and explores what it might mean for buildings to have “brains.” It offers a conversation addressed not only to architects and scientists but also to all who share a fascination with the brains within them and the buildings around t

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41

Crossley, Mark, and James Yarker. Devising Theatre with Stan’s Cafe. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474267083.

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Since it was founded in 1991, British theatre company Stan’s Cafe has garnered an international reputation for artistic innovation, and prolific, eclectic performance projects. Their work has toured nationally and internationally, with 2003's Of All The People In All The World having been performed in over fifty cities around the world. Embracing site-specific, immersive, durational, non-text-based as well as scripted work, Stan's Cafe's portfolio defies simple categorization. Running through all their work however is a collaborative devising process that champions a playful experimentation wi

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