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Books on the topic 'Writer/directors'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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Consult the top 22 books for your research on the topic 'Writer/directors.'

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1

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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2

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

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3

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

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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

Walsh, Ian. Directors and Designers since 1960. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.29.

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Although Irish theatre is often considered to be primarily a writer’s theatre, with its roots in a realist tradition, Irish theatre since 1960 has consistently challenged this definition through the work of its directors and designer. Whether in the case of Tomás Mac Anna’s work at the Abbey in the mid-1960s, Joe Dowling’s production ofJuno and the Paycock, or the collaborative work of Patrick Mason with writer Tom MacIntyre and actor Tom Hickey in the 1980s, contemporary Irish theatre has equally been shaped by its directors. Likewise, although less heralded, designers such as Bronwen Casson, Frank Conway, Wendy Shea, Joe Vanek, and Robert Ballagh played a crucial role in the development of a contemporary Irish theatre. This chapter considers their work, focusing on key examples from influential productions.

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14

O'Meara, Jennifer. Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.001.0001.

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This book examines the centrality of dialogue to American independent cinema, arguing that it is impossible to separate small budgets from the old adage that ‘talk is cheap’. Focusing on the 1980s until the present, particularly on films by writer-directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, the book demonstrates dialogue’s ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema. When compared to the dialogue norms of more mainstream cinema, the verbal styles of these independent writer-directors are found to be marked by alternations between various extremes, particularly those of naturalism and hyper-stylization, and between the poles of efficiency and excess. More broadly, these writer-directors are used as case studies that allow for an understanding of how dialogue functions in verbally experimental cinema, which, this book contends, is more often found in ‘independent’ or ‘art’ cinema. In questioning the association of dialogue-centred films with the ‘literary’ and the ‘un-cinematic’, the book highlights how speech in independent cinema can instead hinge on what is termed ‘cinematic verbalism’: when dialogue is designed and executed in complex, medium-specific ways. More broadly, the book provides a framework for analysing dialogue design and execution that can be readily applied to other films and filmmakers. It also highlights how speech can be central to cinema without overshadowing its medium-specific components. In so doing, the book develops new connections between film dialogue, reception studies, independent cinema and auteur studies.

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15

Palumbo, Donald E., C. W. III Sullivan, and Michael R. Page. Saving the World Through Science Fiction: James Gunn, Writer, Teacher and Scholar. McFarland & Company, Incorporated Publishers, 2017.

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16

Page, Michael R. Saving the World Through Science Fiction: James Gunn, Writer, Teacher and Scholar. McFarland & Company, Incorporated Publishers, 2017.

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17

Scott, Munroe. Always an Updraft: A Writer Remembers. Penumbra Press, 2006.

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18

Bates, Julie. Beckett at the Gate. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.31.

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The place of Samuel Beckett in Irish theatre is anomalous. On the one hand, he is the inescapable figure, the writer cited by so many subsequent Irish playwrights as a touchstone for their work. On the other hand, his work is not ‘Irish’ in any obvious way. While there are fleeting references to Irish placenames, much of the late work takes place in a purely theatrical world that is removed from any national or culturally specific setting. The Beckett Festival of 1991, in which all of Beckett’s nineteen plays were produced, was developed by Michael Colgan as a way of repatriating the playwright. Colgan’s entrepreneurial skills were put at the service of a major theatre event in which popular Irish actors such as Barry McGovern, Johnny Murphy, and Maureen Potter were matched with international directors. This Irish event then toured abroad, and led to the commemorative ‘Beckett on Film’ project.

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19

Froug, William. How I Escaped from Gilligan's Island: And Other Misadventures of a Hollywood Writer-Producer. University of Wisconsin Press, 2005.

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20

Jeffs, Kathleen. Staging the Spanish Golden Age. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.001.0001.

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This book offers first-hand experiences from the rehearsal room of the Royal Shakespeare Company’s 2004–5 Spanish Golden Age season in order to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume proposes translation and communication methodologies that can feed the creative processes of working actors and directors, while maintaining an ethos of fidelity with regards to the original texts. A successful theatrical ensemble thrives on the mingling of these different voices directed towards a common goal. The work carried out during this season has repercussions in the areas comedia critics debate on the page; each of the chapters engages with one area of these overlapping disciplines. Now that the Royal Shakespeare Company’s Spanish Golden Age season has closed, this book posits a model for future productions of the comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer, and director, and is intended to be useful for translation and performance processes in any language.

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21

Salter, Anastasia, and Mel Stanfill. A Portrait of the Auteur as Fanboy. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830463.001.0001.

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The past decade or so of media promotion has seen a recurring trope of Fanboy to the Rescue—have no fear, it says, this revered franchise is being taken over by a writer, director, or producer who is a “fanboy.” In this trope—which, following Suzanne Scott, the book discusses in terms of the “fanboy auteur”—the fan credentials of writers, directors, and producers are presented as a guarantee of quality media-making. This is a strategy of marketing and branding; it is a claim, from the auteur himself or industry PR machines, that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur. A Portrait of the Auteur as Fanboy examines the contemporary ascendance of the fan auteur through a series of case studies. We consider both thoroughly mainstream fan auteur figures like Zack Snyder and Joss Whedon and more offbeat ones like Kevin Smith. We examine those who explicitly identify as fans of the source material they engage, like Steven Moffat, E L James, and Patty Jenkins, and those who don’t but engage in fannish ways nonetheless, like Taika Waititi and J. K. Rowling.

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22

Bradbury, Ray. 13 For Corwin: A Paean of Praise for Norman Corwin, the #1 Writer-Producer-Director During Radio's Golden Age. Barricade Books, 1993.

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