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Journal articles on the topic 'Writing screenplays'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Brickey, Russell. "Art in the ‘big print’: An examination and exercises for cinematic prose writing style." Journal of Screenwriting 12, no. 2 (2021): 227–42. http://dx.doi.org/10.1386/josc_00061_1.

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Guides to writing screenplays worry most about plot sequence, character development and the dialogue. Yet, the ‘big print’ is a necessary part of any screenplay and as an educator I work with my screenwriting students to learn how to craft the big print so it is both powerful and minimal. This article is an examination of the art and style of screenplay prose; in particular, I use the screenplays of Arac Attack (released as Eight Legged Freaks), Aliens and Platoon as distinctive examples of diegetic writing in order to illustrate variations of style and how these affect the progress of the scr

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2

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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3

Sawtell, Louise, and Stayci Taylor. "Gender and the Screenplay." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 1–3. http://dx.doi.org/10.31165/nk.2017.102.502.

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While plenty has been written about gender representation on screen, much less has been written about gender in regards to screenplays. Emerging scholarly research around screenwriting practice often focuses on questions of the craft – is screenwriting a technical or creative act? – and whether or not the screenplay’s only destiny is to disappear into the film (Carriére, cited in Maras 1999, 147). Thus there might be room for further exploration into screenwriters and their practice – to ask who (in regards to gender) is writing screenplays, especially considering the assertion of Dancyger and

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4

Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instr

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Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (2019): 295–306. http://dx.doi.org/10.1386/josc_00005_1.

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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions an

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6

Welch, Rosanne. "Honey, You Know I Can’t Hear You When You Aren’t in the Room." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 69–78. http://dx.doi.org/10.31165/nk.2017.102.509.

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The need for more diversity in Hollywood films and television is currently being debated by scholars and content makers alike, but where is the proof that more diverse writers will create more diverse material? Since all forms of art are subjective, there is no perfect way to prove the importance of having female writers in the room except through samples of qualitative case studies of various female writers across the history of film. By studying the writing of several female screenwriters – personal correspondence, interviews and their writing for the screen – this paper will begin to prove

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7

Zhang, Weixiao. "The Life and Times of Lilian Lee: An Analysis of Lee's Screenplays From Psychological and Stylistic Perspectives." Asian Journal of Social Science Studies 5, no. 1 (2020): 32. http://dx.doi.org/10.20849/ajsss.v5i1.728.

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Lilian Lee, a novelist and screenwriter, is a prominent figure in the Hong Kong film industry and literary circles. Her unique writing style has earned her wide acclaim. Most of her works feature romances, fantasies or mysteries, showing her creative imagination. However, she didn't let love stories and supernatural elements overshadow the full picture she depicted. Instead, she further explored themes such as gender identity, sexual orientation and feminism, and dug deeper into a broad range of topics including mortality, fatality, history and patriotism. She revealed the complexity of human

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8

Taylor, Stayci. "Hidden a-gender?" Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 4–13. http://dx.doi.org/10.31165/nk.2017.102.508.

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This article is concerned with the ways in which a screenplay might be ‘gendered’ or gender identified and, more specifically, how screenwriting practice is informed by, and performs, notions of gender. It asks, in what ways might screenplays be gendered? What is the role of gender in the individual screenwriter’s own practice? And how might cultural assumptions around gender be enacted by and within screenwriting practices (especially mainstream script development processes) and discourse? The article discusses the potentially gendered biases of mainstream screenwriting frameworks (and the ho

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9

Baines, Lawrence, and Micah Dial. "Scripting Screenplays: An Idea for Integrating Writing, Reading, Thinking, and Media Literacy." English Journal 84, no. 2 (1995): 86. http://dx.doi.org/10.2307/821058.

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10

Rosenbloom, Nancy J. "FROM GREENWICH VILLAGE TO HOLLYWOOD: THE LITERARY APPRENTICESHIP OF SONYA LEVIEN." Journal of the Gilded Age and Progressive Era 14, no. 1 (2014): 80–103. http://dx.doi.org/10.1017/s1537781414000577.

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AbstractSonya Levien (1888–1960) achieved a modicum of fame and fortune by writing stories and screenplays for Hollywood studios beginning in 1922 and ending only with her death. Her remarkable story began as the daughter of the immigrant working class and represents a narrative that took her from Greenwich Village to Hollywood. This essay explores her coming of age during the 1910s and, consequently, the process through which America invited those at the fringes to join in defining its national and civic creed. Herein lays the significance of Sonya Levien to an understanding of progressivism.

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11

Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.

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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. M

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12

Wilson, Gavin. "Negotiating autobiographical truth: Embodying sensation in the narrative screenplay." Journal of Screenwriting 11, no. 1 (2020): 99–113. http://dx.doi.org/10.1386/josc_00015_1.

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This article examines how screenwriting adaptations of written material speak of levels of truth-telling within various autobiographical texts. These include literary adaptations by Marguerite Duras: Hiroshima Mon Amour (1959) and The North China Lover (1992), and the autobiographical filmmaking of Maya Deren: Meshes of the Afternoon (1946) and The Very Eye of Night (1958). I argue that descriptions of tactile sensation necessarily remain codified in screenplays, their connotations left hanging even when the filmmaking process often falls short of depicting final truth. What remains is an unre

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13

Barnes, Peter. "On Class, Christianity, and Questions of Comedy." New Theatre Quarterly 6, no. 21 (1990): 5–24. http://dx.doi.org/10.1017/s0266464x00003936.

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Peter Barnes was born in 1931, and has been writing for the theatre since 1963: but he remains resolutely uncommercial, and enjoys even among enthusiasts an essentially cult following – though this includes Terry Hands, who directed his most recent work to reach the stage. Red Noses, for the RSC at the Barbican in 1985. The Ruling Class, his ‘baroque comedy’ on the British aristocracy and the ways it exercises power, helped to bring him the John Whiting Award in 1968 and the Evening Standard award as most promising playwright of 1969, though many found his ‘neo-Jacobean’ portrait of a sublimel

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14

Copier, Laura. "Reanimating Saint Paul: From the Literary to the Cinematographic Stage." Biblical Interpretation 27, no. 4-5 (2019): 533–48. http://dx.doi.org/10.1163/15685152-02745p05.

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AbstractIn several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, “a work complete and finished in itself.” In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini’s writings on the ontological status of the screenplay as a “structure that wants to be another structure.” The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Desp

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15

Millard, Kathryn. "writing with light: The screenplay and photography." Journal of Screenwriting 4, no. 2 (2013): 123–34. http://dx.doi.org/10.1386/josc.4.2.123_1.

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16

Edmond, Frances. "Notes on writing the screenplay for The Beach." Short Film Studies 7, no. 1 (2017): 19–20. http://dx.doi.org/10.1386/sfs.7.1.19_7.

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17

Bourgeois-Bougrine, Samira, Vlad Glaveanu, Marion Botella, Katell Guillou, Pierre Marc De Biasi, and Todd Lubart. "The creativity maze: Exploring creativity in screenplay writing." Psychology of Aesthetics, Creativity, and the Arts 8, no. 4 (2014): 384–99. http://dx.doi.org/10.1037/a0037839.

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18

Mariniello, Silvestra. "St. Paul : The Unmade Movie." Cinémas 9, no. 2-3 (2007): 67–84. http://dx.doi.org/10.7202/024787ar.

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ABSTRACT This essay addresses the notion of "screenplay" elaborated by the film director Pier Paolo Pasolini, in his essay "The Screenplay as a 'Structure That Wants to be Another Structure'," with reference to his Project for a Film of St. Paul. Pasolini's St. Paul, which would have transposed the story of the apostle into our own day, by situating it in New York (Rome), Paris (Jerusalem), present day Rome (Athens), and London (Alexandria), never made it to film. The project, however, gives the whole of Pasolini's cinematographic poetic in condensed form; it is a text which inhabits, in a cri

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19

Sohail, Ahmer, and Prof Dr Farish Ullah. "The Art and Craft of Screenwriting: Practice and Prospects of Screenwriting in Pakistani Film." Journal of Peace, Development & Communication me 05, issue 2 (2021): 230–40. http://dx.doi.org/10.36968/jpdc-v05-i02-21.

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Pakistani feature films are on decline for last three decades. In filmmaking, screenplay plays the pivotal part, without which the idea of making film is absurd indeed. The academic learning of art and craft of screenwriting has actually been taken for granted in Pakistan. This overlooking serves one of the reasons owing to which Pakistani Cinema could not get along with its contemporaries. This qualitative study throws light on the significance of screenplay in the whole process of filmmaking and nudges to the pedagogical needs of screenplay writing to be met in Pakistan. For the purpose, in-

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20

Lowry, LeeAnne. "The Modernist Screenplay: Experimental Writing for the Silent Film, Alexandra Ksenofontova (2020)." Journal of Screenwriting 12, no. 2 (2021): 246–47. http://dx.doi.org/10.1386/josc_00063_5.

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Review of: The Modernist Screenplay: Experimental Writing for the Silent Film, Alexandra Ksenofontova (2020)Cham: Springer International Publishing AG, 249 pp.,ISBN 978-3-03050-589-9, h/bk, USD 109.99

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21

Ings, Welby. "Renegotiating the screenplay: Drawing as a method for narrative development in a short film." Journal of Screenwriting 12, no. 2 (2021): 151–63. http://dx.doi.org/10.1386/josc_00057_1.

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This article considers a non-written form of screenplay. In so doing, it illustrates a trajectory of thinking where drawing methods were employed in the development of a cinematic narrative. These visual approaches replaced creative processing normally associated with writing. In discussing the author’s short film Sparrow, the exposition examines three processes. The first method, gestational drawing, was employed as a ‘story finding’ device. The second, immersive drawing, was used to refine thematic intensity in the work. Finally, directorial drawing was employed as a catalyst for discussion

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22

Aichele, George. "Pasolini’s Pauls." Biblical Interpretation 27, no. 4-5 (2019): 496–506. http://dx.doi.org/10.1163/15685152-02745p02.

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AbstractBecause Pier Paolo Pasolini never completed his movie Saint Paul, any discussion of it must be speculative. However, insofar as the film appears in Pasolini’s screenplay outline and plan, it depicts Paul, in relation to the Pauline writings of the Bible, as a seriously fragmented person. This Paul struggles with multiple personalities that are continually fragmenting and at war with one another. In this way the film fuses together in a single cinematic narrative the many “Pauls” who appear in the Pauline letters and the Acts of the Apostles. The “remixed” quality that then appears in t

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23

Sawtell, Louise. "The paperless screenplay: Writing on, for and with the SCREEN." Journal of Writing in Creative Practice 9, no. 1 (2016): 33–46. http://dx.doi.org/10.1386/jwcp.9.1-2.33_1.

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24

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 (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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25

Nelmes, Jill. "Some thoughts on analysing the screenplay, the process of screenplay writing and the balance between craft and creativity." Journal of Media Practice 8, no. 2 (2007): 107–13. http://dx.doi.org/10.1386/jmpr.8.2.107_1.

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26

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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27

Pitts, Virginia. "Writing from the body: Kinesthetics and entrainment in collaborative screenplay development." Journal of Media Practice 14, no. 1 (2013): 61–78. http://dx.doi.org/10.1386/jmpr.14.1.61_1.

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28

Nelmes, Jill. "Developing the Screenplay Wingwalking: An Analysis of the Writing and Rewriting Process." Journal of British Cinema and Television 5, no. 2 (2008): 335–52. http://dx.doi.org/10.3366/e174345210800040x.

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29

Nelmes, Jill. "Re-writing Paul Laverty’s screenplay – The Wind that Shakes the Barley (2006)." Journal of Screenwriting 2, no. 2 (2011): 263–74. http://dx.doi.org/10.1386/josc.2.2.263_7.

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30

Geerts, Ronald. "‘It’s literature I want, Ivo, literature!’ Literature as screenplay as literature. Or, how to win a literary prize writing a screenplay." Journal of Screenwriting 5, no. 1 (2014): 125–39. http://dx.doi.org/10.1386/josc.5.1.125_1.

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31

Davies, Brett. "EWOKS VERSUS DEAD HEROES: CREATIVE CONFLICT IN WRITING RETURN OF THE JEDI." Revista GEMInIS 12, no. 1 (2021): 102–15. http://dx.doi.org/10.53450/2179-1465.rg.2021v12i1p102-115.

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The original Star Wars trilogy established a storytelling model that still influences Hollywood filmmaking today. However, the third episode in the saga, Return of the Jedi (1983), was received less favorably than its predecessors by critics. This article will examine historical record and analyze aspects of syuzhet (‘plot’) and fabula (‘story’) (BORDWELL, 1985, pp. 49-50) in the screenplay in order to establish why Return of the Jedi works less successfully as a narrative than the first two films. The results of the investigation suggest that this was due to a fundamental philosophical confli

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32

Gurina, EKATERINA. "“ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY." Journal of Education Culture and Society 9, no. 2 (2018): 218–25. http://dx.doi.org/10.15503/jecs20182.218.225.

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Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance. Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character class

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33

Pugsley, Peter C. "Book Review: The 21st Century Screenplay: A Comprehensive Guide to Writing Tomorrow's Films." Media International Australia 139, no. 1 (2011): 160. http://dx.doi.org/10.1177/1329878x1113900120.

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34

Widodo, Suyud, and Ninuk Lustyantie. "Improving Drama Script Writing through Modeling Strategies." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 2, no. 2 (2016): 23–32. http://dx.doi.org/10.21009/ijlecr.022.014.

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 This action research refers to Elliot model (1991) that aims to improve the ability of writing a screenplay through modeling strategies. This action researchon SMA of Purbolinggo Lampung in the academic year of 2014/2015. The implementation of this research is three cycles. Each implementation of actions is divided into stages, identifying intial idea, reconnaissance, general planning, implement of action, monitor implemention, reflection, reconnaissance and revise general idea. The results of the reflection activities function as a foothold to draw up a plan of action to the next cycle

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35

Saeger, James Schofield. "The Mission and Historical Missions: Film and the Writing of History." Americas 51, no. 3 (1995): 393–415. http://dx.doi.org/10.2307/1008228.

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Because of the power of film, movies with historical themes affect public perceptions of the past more deeply than do scholarly reconstructions. Film makers and historians search for meaning in separate ways, but their quests can converge. Examples of different approaches to similar destinations are found in a newer film and older historical views of Catholic missions in South America. Released in 1986, The Mission, directed by Roland Joffé with a screenplay by Robert Bolt, displays paternalistic attitudes like those of an earlier generation of North American academic historians. The film's vo

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36

Ue, Tom. "Literary form, hierarchies and the meeting of two plots in Patrick Gale’s ‘A Slight Chill’." Short Fiction in Theory & Practice 10, no. 1 (2020): 43–56. http://dx.doi.org/10.1386/fict_00013_1.

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This article incorporates Gerald Prince’s and Caroline Levine’s work on form to reveal some of the innovations in Patrick Gale’s ‘A Slight Chill’ ([1996] 2018). This short story juxtaposes two antagonistic plots: the vampire Lotta Wexel’s gastronomic activities and her teacher Angel Voysey’s romance. By attending to, and drawing connections between, smaller forms (e.g. allusions and metaphors) and larger ones (plots and genre), I argue that we may better understand Gale’s project. Lotta’s plot effectively exposes and frustrates Angel’s. In foregrounding such interactions, he encourages the rea

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37

Lee, Sung-Ju Suya, Anne-Marie Lomdahl, Louise Sawtell, Stephen Sculley, and Stayci Taylor. "Screenwriting and the higher degree by research: writing a screenplay for a creative practice PhD." New Writing 13, no. 1 (2016): 85–97. http://dx.doi.org/10.1080/14790726.2015.1135964.

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38

Ledwina, Anna. "Le Navire Night : le mélange des genres et des arts." Quêtes littéraires, no. 6 (December 30, 2016): 91–99. http://dx.doi.org/10.31743/ql.216.

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The works of Marguerite Duras show visible hybridity, broadly understood as a mixture of genres, correspondence of the arts, or intertextuality. Her texts reflect, par excellence, this tendency because they keep departing from classical forms. Consequently, the same text can be interpreted as a novel, screenplay, or film. This transgression seemingly results from the versatility of changing artistic interests of Duras, who, while writing, was fascinated by film-making and all possibilities of experimentation. The transgression is confirmed by a kind of polyphony of voices in her works, which m

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39

McVeigh, Margaret. "Telling Big Little Lies: Writing the Female Gothic as extended metaphor in Complex Television." Journal of Screenwriting 11, no. 1 (2020): 63–80. http://dx.doi.org/10.1386/josc_00013_1.

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This article investigates the writing of the Female Gothic as extended metaphor in the Complex TV series Big Little Lies (2017). It builds on my earlier work, ‘Theme and complex narrative structure in HBO’s Big Little Lies 2017’ (2019), wherein I applied Porter et al.’s (2002) structuralist narrative tool, the ‘Scene Function Model’, to investigate the way narrative and theme is progressed in complex interweaving stories via the writing of core or ‘kernel’ narrative scenes. Herein, I further investigate storytelling in series TV by proposing the ‘satellite’ narrative scene as a means by which

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40

Sharma, Himani. "Plight of Daksha: Identity Crisis and Communal Violence in Final Solutions." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 6. http://dx.doi.org/10.24113/ijellh.v8i2.10407.

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Mahesh Dattani is one among India’s avant garde dramatists. He worked as an actor, director, playwright, dancer and screenplay writer. He is one of the most serious contemporary playwrights writing in English. He is a master of language. He can express what he wants to say in any language. Throughout his dramas, he acts like a spokesman for all the marginalized people. His popular play ‘Final Solutions’ deals with the theme of communal hatred and violence. Exploring the issues of religion, hindu-muslim conflict, gender bias, generation thinking gap, Dattani seems to show the inner conflict ins

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41

P, Sridevi. "Literary Personality evident in Kalaignar M.Karunanidhi’s Text bibliography." International Research Journal of Tamil 2, no. 3 (2020): 60–69. http://dx.doi.org/10.34256/irjt2036.

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Kalaignar M. Karunanidhi stands high of all literary stalwarts of his age through his contribution to the language, literature and the state as a writer and a leader. He had been meticulously writing for decades together producing wide range of works that include political statements, pamphlets, editorial columns, poems, plays, stories, and translations of classics, screenplay and dialogues for films, Television serials and so on. His area of expertise includes ancient Tamil literature on which he has written kuraloviyam, sangaTamizh, Tholkapiyapoonga and ThirukuralThelivurai. He registers his

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42

Ojrzyńska, Katarzyna. "Nabil Shaban’s Dialogue with the Non-Disabled Centre." Tekstualia 4, no. 51 (2017): 163–76. http://dx.doi.org/10.5604/01.3001.0013.3557.

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The article centres on the literary output of the Jordanian-British artist Nabil Shaban. In his texts, Shaban often rewrites various historical and popular narratives from the perspective of a person with a disability. This strategy, for instance, involves the investigation of the lives of certain historical fi gures, such as Ivar the Boneless, whom Shaban brings out of the disability closet. The concept of what may be termed „writing back to the non-disabled centre” is also conspicuous in Shaban’s rewritings of popular narratives, the best example being the parody of a zombie apocalypse narra

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43

Ravenhill, Mark. "A Tear in the Fabric: the James Bulger Murder and New Theatre Writing in the 'Nineties." New Theatre Quarterly 20, no. 4 (2004): 305–14. http://dx.doi.org/10.1017/s0266464x0400020x.

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It is not yet ten years since Mark Ravenhill's Shopping and Fucking reached the stage of the Royal Court, during its West End exile in 1996; yet the play has already become, with Sarah Kane's Blasted, identified as central to the emergence of so-called ‘in-yer-face’ theatre. While Mark Ravenhill recognized the influence of such writers as Martin Crimp and David Mamet, it was only recently, during a discussion over coffee about a possible screenplay, that he began to consider the effects of both private and public events of 1993 upon his emergence as a writer – the death of a partner, and the i

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44

Beatens, Jan. "Expanding the Field of Constraint: Novelization as an Example of Multiply Constrained Writing." Tekstualia 1, no. 60 (2020): 113–40. http://dx.doi.org/10.5604/01.3001.0014.1366.

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This essay deals with the question of the multiple constraints that determine the production of highly commercialized literature, namely, novelization. As a literary genre, novelization is easy to defi ne: it is the novelistic adaptation of an original fi lm or, more specifi cally, of the screenplay of this fi lm. As a cultural practice, however, novelization is hardly known, given its lack of prestige, hence its near-absence in the scholarly fi eld (novelizations seem so „bad” that nobody thinks they deserve any serious interest). In cultural and institutional terms, novelizations are blatant

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Teale, Polly. "‘Distilling the Essence’: Working with Shared Experience." New Theatre Quarterly 31, no. 3 (2015): 213–22. http://dx.doi.org/10.1017/s0266464x15000469.

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In this wide-ranging interview of 25 November 2014, Polly Teale, writer, director, and Artistic Director of UK-based Shared Experience theatre company, reflects on her stage adaptations of literary works, the lives of their authors, and the processes of adapting texts between genres. Founded in 1975 by Mike Alfreds, Shared Experience has toured internationally from Sydney to Beijing with highly physical stage adaptations of literary texts and biographies that express the inner lives of complex and fascinating characters. Teale discusses the adaptation of her play Brontë to a screenplay, Shared

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Wibowo, Philipus Nugroho Hari. "NOVEL GADIS PANTAI KARYA PRAMOEDYA ANANTA TOER SEBAGAI DASAR PENCIPTAAN SKENARIO." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 1 (2016): 53. http://dx.doi.org/10.24821/rekam.v11i1.1291.

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Penciptaan ini mengadaptasi novel Gadis Pantai karya Pramoedya Ananta Toer (Pram) menjadi skenario. Kepiawaian Pram dalam menulis novel tidak diragukan lagi. Banyak karya Pram yang menjadi best seller, dari tangannya lahir karya-karya yang hebat, berbagai penghargaan pernah ia dapatkan, hingga nominasi nobel. Karya Pram sampai saat ini belum ada yang berhasil difilmkan, mungkin masa lalu Pram yang dekat dengan Lekra yang membuat seperti ini. Ide menjadi hal yang paling penting dalam sebuah skenario (film), Ide mengadaptasi novel menjadi pilihan yang jitu. Mengingat banyak film yang memenangkan

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Robbers, Lutz. "Mies: A Fighter for Film." Bitácora Arquitectura, no. 40 (May 8, 2019): 48. http://dx.doi.org/10.22201/fa.14058901p.2019.40.69445.

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<p>At the beginning of 1931, a short article entitled “Film fighter from the outside” appeared in the industry magazine Film-Kurier. In the introductory sentence, the author, who remains anonymous, asks: “How does Mies van der Rohe come to film? - Not a difficult question to answer: As a person who takes a stand on the spiritual things of the time, he naturally also addresses questions of film.” But the article neither explains what Mies’s involvement with film was, nor how the architect and then Bauhaus director became interested in film. And even today the assumption of an affinity bet

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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.

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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was

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Pomar Tojo, Carmen, Guillermo Calviño Santos, and Andrea Irimia Nores. "“EL RESULTADO DEL PROYECTO QVO: METAMORFOSIS 5”." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 5, no. 1 (2016): 493. http://dx.doi.org/10.17060/ijodaep.2014.n1.v5.711.

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Abstract.“THE RESULT OF QVO PROJECT: METAMORPHOSIS 5”If you look at each of the arts and try to see them as large containers of disciplines, we find that cinema is the most porous of all. The film has a tremendous ability to filter and take - bind - hundreds and thousands of disciplines not only inherent in the result, the film, but in all the stages involved in the creation process. To cite some examples that are found only in the most superficial layer of all film production : script writing, deco-architecture, costume design, storyboard drawing, acting work, capturing sound, camera operatio

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"Writing the character-centered screenplay." Choice Reviews Online 32, no. 04 (1994): 32–2041. http://dx.doi.org/10.5860/choice.32-2041.

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