Relevant bibliographies by topics / Writer/directors

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

Academic literature on the topic 'Writer/directors'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Writer/directors"

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Gibson, Jennifer. "Couples Who Collaborate: Picture Book Authors Miranda and Baptiste Paul." Children and Libraries 15, no. 4 (2017): 19. http://dx.doi.org/10.5860/cal.15.4.19.

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As in many fields, the myth of the lone creative genius simply does not hold true for those creating children’s books.While in traditional publishing, the writer and the illustrator of picture books are normally not in contact, both must work collaboratively with their editors and art directors on book projects and often rely on feedback from critique groups of their peers to enrich their creative work.Yet what happens when your partner in life is also a writer or illustrator? Children and Libraries introduces a new series, Couples Who Collaborate, looking at the dynamic duos in children’s publishing. We begin our series with Wisconsin-based husband-and-wife team Baptiste and Miranda Paul.
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Stroganov, Mikhail. "Leo Tolstoy in the documentary films." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 2 (2019): 178–99. http://dx.doi.org/10.35852/2588-0144-2019-2-178-199.

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The article deals with the detailed research of the documentary shootings connected with Leo Tolstoy. Starting with the life chron¬icles up to works of modern documentary film directors. The question of difference between the documentary cinema and documentary files that was made by the operators-contem¬poraries of Tolstoy is set as a main problem. They fixed the last years of writer’s life. Their shootings became the basis to many docu¬mentaries made by the foregoing directors (starting from E. I. Shub to G. M. Evtushenko). The genre of the double portrait that is mostly demanded in nowadays documen¬tary cinema add the dramatic tension to the film and helps to rethink already well observed materials. Numerous aspects are summing into the common and vast review of the writer and cinema relations.
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Ogaltsev, A. S. "PECULIARITIES OF COMPREHENSION OF CHEKHOV’s WORKS IN SPAIN." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (2020): 1072–77. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1072-1077.

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The article deals with the process of comprehension of A.P. Chekhov's works in the Spanish culture. It’s based on Russian and foreign sources. The author of the article demonstrates the most significant moments in the understanding of the Russian writer by Spanish literary critics, theater directors and film directors. The article contains a brief overview of key periodicals and books, plays and film adaptations that illustrate the evolution of comprehension of Chekhov's works. Citations of Spanish culture figures, critics, translators and journalists are given by author's translation from their works and interviews. The article illustrates the period from the first mention of Chekhov's name in the Spanish press in 1894 to the nowadays. The author pays special attention to the first screen versions of the Russian playwright’s plays and the most eccentric experimental staging in the capital and provincial theaters of Spain.
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Hildebrand, Wil. "The Dramatic Theatre in The Netherlands." Theatre Research International 27, no. 2 (2002): 192–200. http://dx.doi.org/10.1017/s0307883302000263.

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An analysis of the main companies, groups and practitioners producing text-based theatre in the Netherlands in the last few years provides a backdrop for a more detailed examination of the work of writer/director Gerardjan Rijnders. Further, special focus is given to the work of the greatest theatre innovator of the last two decades, Jan Joris Lamers, and two young theatre collectives are presented as representative of a broader movement of playwrights, actors and directors, who perform in smaller black-box theatres.
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Reichmann, Brunilda Tempel. "“Tá dificil competir": Adaptação da trilogia de Michael Dobbs, House of Cards, pela BBC e pela Netflix." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (2019): 213–34. http://dx.doi.org/10.5007/2175-8026.2019v72n1p213.

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This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.
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Smith, Paul Julian. "La Llamada, Paquita Salas, and the Javis." Film Quarterly 71, no. 4 (2018): 41–45. http://dx.doi.org/10.1525/fq.2018.71.4.41.

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FQ Columnist Paul Julian Smith reviews the recent work of young writer-directors Javier Ambrossi and Javier Calvo, celebrities universally known in Spain by the diminutive of their shared name, “los Javis.” The backstory to their first feature film, the success of which so mystifies the established film press, is that of the couple's canny and creative appeal to the multiple media of theater, television, and Internet. The Javis work marks the emergence of a new youthful sensibility and a new gay auteurism in Spanish film and television.
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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 with produced female writers of film and television is presented here. The purpose of the interviews is to tease out the experiences, work practices, perceived barriers and narrative preoccupations of this underrepresented group. Although generalizations cannot be made on the basis of three interviews, many of the views expressed by these practitioners correspond to theoretical and empirical work emerging in the field. Other insights shed new light on aspects of women’s creative labour in the Irish film industry.
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Veralda, Monica. "Semiotics Theory Analysis in the Movie “Ave Maryam” (2018)." IMOVICCON Conference Proceeding 2, no. 1 (2021): 130–33. http://dx.doi.org/10.37312/imoviccon.v2i1.62.

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A movie must have a purpose and a message according to the directors’ vision and plans. There are many ways to convey the message to viewers around the world, explicitly or implicitly. Yet, every individual has their own perspective, ideology, opinion, and culture background, and this diffence results in different interpretation of a movie. Nevertheless, viewers can still analyze a movie with theories that has been studied for generations, for instance semiotics theory, feminist film theory, psychoanalysis, etc. We will analyze how Robby Ertanto, as the director, the writer, and the producer of Ave Maryam, conveys messages through symbols, or as we call it the semiotics theory.
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Faber, Sebastiaan. "L'esilio degli intellettuali spagnoli e tedeschi in Messico: due esperienze a confronto." MEMORIA E RICERCA, no. 31 (September 2009): 63–80. http://dx.doi.org/10.3280/mer2009-031005.

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- Between 1939 and 1946 Mexico City became one of the most important centers of attraction for European refugees. Many artists, writers, directors, philosophers and anti-fascist militants coming from Spain and Germany took refuge in the capital of Mexico. The author focuses on these two groups, highlighting common elements and main differences and taking the writer Max Aub and Egon Erwin Kish as an example. Using this as a case study, the essay develops a few methodological considerations on the opportunity to develop comparative studies on exile, overcoming the rigid classification and separation of single national cases.Parole chiave:guerra civile spagnola, esilio, Messico, repubblicani, comunisti, comparazione, storia transnazionale Spanish Civil War, exile, Mexico, Republicans, Communists, comparison, transnational History
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Stevenson, Randall. "Ferris Wheels, Faust, and Forms of Influence in Malcolm Lowry and Graham Greene." American, British and Canadian Studies 36, no. 1 (2021): 175–86. http://dx.doi.org/10.2478/abcsj-2021-0010.

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Abstract Ferris Wheels seem to fascinate film-directors – notably Carol Reed in The Third Man (1949), based on Graham Greene’s story and script. Though Ferris Wheels figure less conspicuously in twentieth-century novels, Malcolm Lowry provides an exception in Under the Volcano (1947), a novel also comparable to The Third Man in other ways. One explanation might be that Greene simply drew on Lowry’s example when developing his film-script (later published as a novella) – work begun very shortly after Under the Volcano had appeared. More plausibly, each writer might be understood to have responded separately, though similarly, to the unique pressures of their age. Identifying how these stresses were represented in their work, through cognate symbologies, may suggest some productive ways of reading historically.
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Dissertations / Theses on the topic "Writer/directors"

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Marshall, Grant. "The Argonauts and writer/directors." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16339/1/Grant_Marshall_-_The_Argonauts.pdf.

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The Argonauts is a one hundred and ten minute screenplay depicted in the genre of children's adventure film, set in the suburbs of Brisbane in the early 1990s. It tells the story of four friends who embark on adventure in an attempt to save their parents' shops from a corporate takeover. The exegesis explores the dual role of the screenwriter/director and the affect on the screenplay of the shifts in mindset required when these roles are undertaken by the same person. Screenwriting and directing are explored as two separate but interlinked disciplines. In this paper I have draw on my experience in these two roles to discuss their inter-relationship. In order to understand how the two roles of screenwriting and directing interact, challenge and compliment one another when carried out by the same person, I analyse the interplay of these roles within the specific areas of character, narrative and setting in the writing and revision of the screenplay, The Argonauts.
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Marshall, Grant. "The Argonauts and writer/directors." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16339/.

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The Argonauts is a one hundred and ten minute screenplay depicted in the genre of children's adventure film, set in the suburbs of Brisbane in the early 1990s. It tells the story of four friends who embark on adventure in an attempt to save their parents' shops from a corporate takeover. The exegesis explores the dual role of the screenwriter/director and the affect on the screenplay of the shifts in mindset required when these roles are undertaken by the same person. Screenwriting and directing are explored as two separate but interlinked disciplines. In this paper I have draw on my experience in these two roles to discuss their inter-relationship. In order to understand how the two roles of screenwriting and directing interact, challenge and compliment one another when carried out by the same person, I analyse the interplay of these roles within the specific areas of character, narrative and setting in the writing and revision of the screenplay, The Argonauts.
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Books on the topic "Writer/directors"

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Something startling happens: The 120 story beats every writer needs to know : a minute-by-minute guide for all screenwriters, directors, producers, actors, editors, graphic novelists, development execs, and cinematic novelists. Michael Wiese Productions, 2011.

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Hubbard-Brown, Janet. Tina Fey: Writer and actress. Chelsea House, 2010.

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Scott, Munroe. Always an Updraft: A writer remembers. Penumbra Press, 2005.

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Froug, William. How I escaped from Gilligan's Island: And other misadventures of a Hollywood writer-producer. University of Wisconsin Press/Popular Press, 2006.

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Froug, William. How I escaped from Gilligan's Island: And other misadventures of a Hollywood writer-producer. University of Wisconsin Press/Popular Press, 2005.

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Phillip, Bell Lee, ed. The young and restless life of William J. Bell: Creator of The young and the restless and The bold and the beautiful, and former head writer of Days of our lives. Sourcebooks, 2012.

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Markham, Peter. What's the Story? the Director Meets Their Screenplay: An Essential Guide for Directors and Writer-Directors. Taylor & Francis Group, 2020.

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Markham, Peter. What's the Story? the Director Meets Their Screenplay: An Essential Guide for Directors and Writer-Directors. Taylor & Francis Group, 2020.

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Markham, Peter. What's the Story? the Director Meets Their Screenplay: An Essential Guide for Directors and Writer-Directors. Taylor & Francis Group, 2020.

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Markham, Peter. What's the Story? the Director Meets Their Screenplay: An Essential Guide for Directors and Writer-Directors. Taylor & Francis Group, 2020.

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Book chapters on the topic "Writer/directors"

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Cai, Shenshen. "Xu Jinglei: A Successful Actor-Writer-Director." In Contemporary Chinese Films and Celebrity Directors. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-2966-0_4.

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O'Meara, Jennifer. "Adapting Dialogue and Authorial Double-voicing." In Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0008.

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Dialogue’s association with the literary arts is a key reason why it has been historically undervalued within film studies. Adaptation scholars have demonstrated sustained interest in voice-overs, as part of a broader interest in the transcodification of narration techniques across media. However, the discipline has tended to downplay the significance of dialogue more broadly. By focusing on the verbal elements of adaptations, as well as other literary influences on American independent cinema, this final chapter begins to address this imbalance. The chapter examine how independent writer-directors’ literary interests can influence the dialogue in their original and adapted works. After considering Whit Stillman’s multi-directional adaptations, dialogue as storytelling, and reflexive adaptation, it is found that dialogue can be used to create verbal consistency between these writer-directors’ adaptations and their original screenplays. Drawing on Mikhail Bakhtin’s literary concept of ‘double voicing’, the chapter also explores how indie writer-directors’ use characters as mouthpieces that reflecting their own opinions.
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Kenny, Alan Patrick, and Mary Jo Lodge. "Hamilton and the Liminal Director." In Dueling Grounds. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938840.003.0010.

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This chapter explores how Thomas Kail, as director, has nurtured and developed Lin-Manuel Miranda’s work, while simultaneously serving as an interpreter, editor, dramaturg, and cheerleader, and, indeed, as a liminal space between Miranda as actor and Miranda as writer. While many of these functions are standard today for directors of new work, and typically date back for musicals to directing greats like Jerome Robbins, Kail fulfilled all of these functions with the added challenge of Miranda as star. This essay explores how both Miranda’s and Kail’s shared history, and Kail’s reliance on the same collaborators from show to show has fostered his successful interactions with Miranda. It also examines how Kail shaped the development of Hamilton, as Miranda was writing it, and how Kail’s collaborative style and focus on script analysis can provide a model for future directors of musicals in development, particularly when working with a writer-performer.
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Hanan, David, and Soehadi Gaston. "Two Auteurs in the Indonesian Cinema of the 1970s and 1980s : Sjuman Djaya and Teguh Karya." In Southeast Asia on Screen. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989344_ch06.

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This chapter discusses key films by Sjuman Djaya and Teguh Karya, two Indonesian writer-directors who emerged in the early Suharto era of the 1970s. Sjuman Djaya was trained in the Soviet Union, and on his return to Indonesia made films that engaged – in very spirited and original ways – with the popular culture of the poor and with social issues and Indonesian history. Teguh Karya founded a collective that trained young people in theatre arts but quickly branched into filmmaking. His early films were popular romantic melodramas, which established an audience and created major stars. Later, Teguh made a celebrated historical film, addressed poverty and dislocation in the society, the position of women, and even made one political allegory.
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Newman, Rich. "Writer." In Cinematic Game Secrets for Creative Directors and Producers. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-81071-3.00005-4.

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"Writer." In Cinematic Game Secrets for Creative Directors and Producers. Routledge, 2013. http://dx.doi.org/10.4324/9780080928050-11.

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O'Meara, Jennifer. "Introduction." In Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0001.

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This introduction explore the book’s aims of demonstrating the ability of dialogue to engage audiences and bind together the narrative, aesthetic and performative elements of selected independent cinema, from the 1980s until the present day. The chapter justifies the focus on the verbally creative works of Wes Anderson, Noah Baumbach, Hal Hartley, Jim Jarmusch, Richard Linklater and Whit Stillman, while highlighting links between such cinema and that of New Hollywood and the French New Wave. It introduces the concept of ‘cinematic verbalism’ and the related label of ‘cinematic verbalists’, which will be used throughout the book to refer to these writer-directors’ work. Overall, the chapter details how, by focusing on the ways in which dialogue in American independent cinema is designed and executed, we can question the association of dialogue-centred films with the ‘literary’ or ‘un-cinematic’.
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O'Meara, Jennifer. "Verbal-Visual Style and Words Visualised." In Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0003.

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This chapter examines the relationship between dialogue and what is simultaneously shown on screen, in order to develop an understanding of verbal-visual style in contemporary indie cinema. In considering what makes certain combinations of words and images jarring or pleasurable for audiences, the chapter includes analysis of: textual speech; voice-over as a double-layered structure; and textual signposts. The chapter also examines words that are visualised, as with intertitles and text that is embedded in the mise-en-scene. It finds that the six writer-directors considered ‘cinematic verbalists’ can substitute verbal interest for visual interest, or for visual interest that depends on the verbal for its impact. The chapter charts the relationships between visual and verbal synchronicity, as well as between observational styles of viewing and audiences being positioned as eavesdroppers: when they must piece together verbal information.
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Moore, Cath. "From Local to Global: The Bier/Jensen Screenwriting Collaboration." In ReFocus: The Films of Susanne Bier. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474428729.003.0012.

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Cath Moore draws attention to the unique Danish co-writing process that most Danish directors employ, in which a director and screen-writer collaborate on scripts and share writing credit. Bier’s most successful films have been co-written with Anders Thomas Jensen, who also works with actors during the writing process, rewriting lines of story and dialogue after collaborative reading sessions. With a focus on the Bier/Jensen trilogy, Moore delineates the creative divergences between Bier’s solo work and Jensen’s dark satirical and absurdist self-written and directed films. Moore concludes that the critical and commercial success of the unparalleled Bier/Jensen oeuvre is a result of their preference for highly dramatic stories focused on personal conflict that transcends the local domestic space of Denmark. These transnational storylines, she believes, utilize different national settings as an important facet of story construction to visualize a shared humanity.
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Uy, Michael Sy. "Gatekeeping from Within." In Ask the Experts. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.003.0003.

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This chapter elucidates the previously opaque and little-understood roles of foundation and National Endowment for the Arts (NEA) staff and officers, or “philanthropoids” as famous American writer Dwight Macdonald referred to them in his famous New Yorker article. These officers included program directors Walter Anderson (NEA) and Norman Lloyd (Rockefeller); vice president W. McNeil Lowry (Ford); and chairmen Roger Stevens (NEA) and Nancy Hanks (NEA). Foundation and NEA officers, as well as board of trustee members, were “interactional experts”—experts knowledgeable about a field, even if not actively contributing to new knowledge or self-identifying as experts—with tremendous influence in the operation of the system. They decided the kinds of outside voices that were heard in the decision-making process. They were gatekeepers, interlocutors, and translators between the outside consultants they recruited and grant applicants. They wielded the almighty red and black pens and their Rolodexes were a who’s who of asked experts.
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Conference papers on the topic "Writer/directors"

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Iguma, Ayaka, and Masashi Yamada. "Correspondence Analysis on the Production Staff for the Anime Series Nintama Rantaro." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001768.

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Nintama Rantaro is a long running TV anime series in Japan, which is produced by a large number of staff members. In the present study, 228 episodes of this series were selected to analyze the relationships among the staff members and the elements in the episodes, using correspondence analysis and cluster analysis. Numbers of storyboard writers, animation directors, screenplay writers and directors, and factors of the stories, e.g., representative expressions, motions of the main characters and emotions of the main characters, were counted, and a cross-tabulation table was constructed. The results of the correspondence analysis of the table showed that a three-dimensional space illustrated the correlations in the table with the cumulative contribution ratio of 42 %. The results of the cluster analysis with Ward’s method showed four clusters. Each of the four clusters coincided to each quadrant on the plane spanned by the first two dimensions. In the first quadrant, an animation director Tsuyoshi Ichiki was plotted. In the same quadrant, fighting motions of the main characters were plotted. Tsuyoshi Ichiki is one of the most proficient anime directors for battle scenes. Therefore, this indicates that the animation of episodes which includes battle scenes is chiefly directed by Tsuyoshi Ichiki in Nintama Rantaro. In the second quadrant, experienced animation directors, Emiko Niiyama and Kazue Tamari were plotted as well as a screenplay writer, Mitsuharu Yoshida who frequently writes the screenplay for the initial episode of a season. Moreover, characteristic expressions in Nitama Rantaro, such as the escape of the soul from the body, use a regional dialect “bayai” instead of “baai”, and the appearance of a character with breaking the screen, were plotted in this quadrant. This implies that the experienced animation directors and the screenplay writer use characteristic expressions especially for the initial episode of a season. In the third quadrant, an animation director Setsuko Shibuichi, who previously directed animations with sad stories, was plotted. The sad emotion of a main character is also plotted in the same quadrant. This indicates that for a sad episode, Setsuko Shibuichi directed the animation. In the fourth quadrant, screenplay writers, Satoshi Kimura and Kazuko Iwasaki are plotted as well as an animation director, Yasuhiro Endo, and various directions of motions of the characters are also plotted. This means that they are proficient dynamic motions of characters. In this way, the relationships among the staff members and the elements of the anime episodes are clarified in the context of Nintama Rantaro.
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