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Artykuły w czasopismach na temat „Film script”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 28 stycznia 2023

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1

Admaja, Yoan Hadi Kusuma, and Anisya Sonita. "Multimedia development life cycle method for script making in the film kultur." Borobudur Informatics Review 2, no. 1 (August 29, 2022): 36–46. http://dx.doi.org/10.31603/binr.6139.

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The technique of making scripts in cultural films is a written work that aims to explain how important scripts are in filmmaking, where the script is the foundation for the formation of the film itself, besides that the writer also provides an explanation of the procedures for writing film scripts, starting from the beginning of the story idea to the formation of a script that can be adopted into a film, here the writer raises the theme of culture which is interpreted as culture, and the culture that is adopted here is the Bengkulu culture which is in such a way that it is almost extinct or ob

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Foster, Kieran. "Repurposing the Archive: Unmade Films, Vampirella and Adaptation." Journal of British Cinema and Television 19, no. 4 (October 2022): 518–35. http://dx.doi.org/10.3366/jbctv.2022.0645.

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The Hammer Script Archive is held at De Montfort University in Leicester and was opened to researchers in 2012. Primary materials held in the Archive include screenplays, treatments, financial documentation, correspondence, posters, production stills and press books. This article will utilise specifically the material held in the Archive that relates to Hammer’s unmade films. The archive currently holds files on exactly 100 unmade television and film projects, with 185 separate pieces of ephemera directly related to these unmade works. This article examines how archival materials on unmade or

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3

Korshunov, Vsevolod Vyacheslavovich, and Vsevolod Vyacheslavovich Korshunov. "A Film as an "Unfinished Script": theProblem of Composition." Journal of Flm Arts and Film Studies 2, no. 4 (December 15, 2010): 112–28. http://dx.doi.org/10.17816/vgik24112-128.

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There is an interesting tendency in the cinema of the 21st century first decade. We see the appearance of films based on the modification of the "film about film" theme which can be tentatively defined as "a film as an unfinished scriptn. The film's subject is the process of its creation. There are five particularly obvious examples: "Adaptation" (Spike Jonze, 2002), "A Movie about the Movies" (V. Rubinchik, 2002), "Reconstruction" (Chrisofler Вое, 2003), "Waiter" (Alex van Warmerdam, 2006) and "Stranger than Fiction" (M. Forster, 2006). The article investigates the peculiarities of these film

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Małgorzata Hendrykowska, Małgorzata Hendrykowska. "Ważyk – Ford – Starski. Historia pewnego scenariusza." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 35–61. http://dx.doi.org/10.14746/i.2019.35.02.

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The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in

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5

Grayston, K. "Book Reviews : Imaginative Film Script." Expository Times 109, no. 8 (May 1998): 245. http://dx.doi.org/10.1177/001452469810900809.

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Henschen, Jan. "Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema." Journal of Screenwriting 10, no. 3 (September 1, 2019): 247–59. http://dx.doi.org/10.1386/josc_00002_1.

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A case study on Urban Gad’s German shooting script for Die Filmprimadonna (The Film Primadonna, 1913) reviews the screenplay in the production process shortly after the emergence of multiple-reel feature films. In the dramatic story of the rise and fall of a film prima donna, a fictitious screenplay plays an idiosyncratic function in filmmaking that sketches, for the cinematic audience of that time, a specific idea of how and why an appropriate script has to be made. The article offers an analysis of Gad’s preserved script and demonstrates that this screen-idea contrasts with the value and age

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7

Wibowo, Ridha Mashudi, and Rudi Ekasiswanto. "Penulisan Naskah Film Pendek Komunitas Saba Eksploit SMAN I Bantul, DIY." Bakti Budaya 5, no. 2 (October 31, 2022): 216–29. http://dx.doi.org/10.22146/bakti.5604.

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The Official Selection World Cinema Amsterdam Award in 2019, given to the film "Tilik" opened the public's eyes to the fact that even a short film can convey a moral message as powerfully as a feature-length film. It does not matter that short films have more limitations than long ones. This phenomenon encourages short film script writing assistance as a community service activity. Saba Exploit (SE) SMAN 1 Bantul DIY was designated as the target for assistance because of its potential and impressive track record in making short films. Given the uneven transmission of knowledge and skills betwe

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8

Liutianska, N. I. "FILM SCRIPT IN THE ASPECT OF FILM TRANSLATION." Тrаnscarpathian Philological Studies 2, no. 23 (2022): 188–91. http://dx.doi.org/10.32782/tps2663-4880/2022.23.2.37.

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Michalovič, Michal. "The Miraculous Virgin: Journey from Novella to Shooting Script." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 52–66. http://dx.doi.org/10.2478/sd-2018-0004.

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Abstract Dominik Tatarka’s novella The Miraculous Virgin was first published in 1944. Twenty years later a second edition (revised by the author) was published and at approximately the same time Tatarka wrote a literary script for an intended film based on his novella. Director Štefan Uher (who had previously directed three feature films – Class Nine A, The Sun in a Net and The Organ) undertook the film adaptation. He wrote the shooting script based on Tatarka’s literary script and in 1966 he directed the movie The Miraculous Virgin. In the present study the author analyses the evolution of th

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10

Haryati, Haryati. "Presupposition in The Mystery and Thriller Film of “Escape from Pretoria"." Journal of Pragmatics Research 4, no. 1 (August 10, 2022): 122–36. http://dx.doi.org/10.18326/jopr.v4i2.122-136.

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Presupposition itself has been a cause of the diversity of interpretations since presupposition sticks to utterances, sometimes unsaid clearly, that will provide implied meanings based on the context that is being talked about. The purposes of the study are to investigate three major points: the kinds of presupposition, their functions, and the percentage of each presupposition in the mystery and thriller film script of “Escape from Pretoria” by Francis Annan. This research used a qualitative method to analyze the obtained data. The observation is also used to collect data in which data are ob

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11

Situmeang, Asima Trismawati, Saidin ., and T. Keizerina Devi A. "Legal Protection on the Moral Rights and Economic Rights of the Author of Film Script Writing Pursuant to Law No. 28 of 2014 Concerning Copyright (Analysis of Copyright Infringement Case by a Production House of the “ Benyamin Biang Kerok” Film)." International Journal of Research and Review 8, no. 8 (August 29, 2021): 731–39. http://dx.doi.org/10.52403/ijrr.20210896.

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Moral Rights and Economic Rights are Exclusive Rights that cannot be separated in relation to Copyrights. Copyright protects all forms of work, one of which is Film Script Writing as referred to in Article 40 paragraph (1) of Law Number 28 of 2014 concerning Copyright (UUHC). One of the forms of infringement on the copyrighted work of the film script is the reuse of the film script without the permission of the creator, resulting in the loss of the moral rights and economic rights of the creator. The problems in this study are: how to use the principles of Moral Rights and Economic Rights of t

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12

Bolton, Jonathan. "Mendacity, Rule Consequentialist Ethics and The Ploughman's Lunch." Film-Philosophy 26, no. 1 (February 2022): 26–43. http://dx.doi.org/10.3366/film.2022.0188.

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This article examines Ian McEwan's script for director Richard Eyre's film, The Ploughman's Lunch (1983), the title of which alludes to a deceptive, post-World War II advertising campaign that promulgated a false narrative about British tradition. McEwan's script, and Eyre's film adaptation of it, offer a prescient exposé of Britain's culture of mendacity in the 1980s in ways that draw on rule-consequentialist ethics to maintain that lying on the personal, professional, and political level has a pernicious effect on society. McEwan's work on the film also marks a crucial turning point in the a

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13

Wahab, Azrin, and Noraini Abu Talib . "Malaysian Film Projects Network Mobilization." Journal of Social and Development Sciences 4, no. 2 (February 28, 2013): 61–68. http://dx.doi.org/10.22610/jsds.v4i2.736.

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Film project is a temporary organization that uses outsourcing to acquire it resources. This study aims to investigate how Malaysian film productions mobilize its network in pre-production stage. The objectives are to find out the main components in pre-production and factors that create network between the production and components. In Sweden it is found out that the factors creating network in film pre-production stage are Attractive Script, Established Network, Mentor, and Proficiency. 10 random Malaysian film producers are selected for qualitative interviews. It is found out that the facto

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14

Jaroszuk, Grzegorz. "Otwarcie filmu fabularnego, jego funkcje i znaczenie." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 233–51. http://dx.doi.org/10.14746/i.2017.29.14.

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Legendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson.

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15

Ogudov, S. A. "Narrative Distance in Screenplay: “The Heir to Genghis Khan” by Vsevolod Pudovkin." Critique and Semiotics 39, no. 1 (2021): 383–402. http://dx.doi.org/10.25205/2307-1737-2021-1-383-402.

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The article is devoted to the narratological analysis of a screenplay. A distance between a narrator and a story world that constitutes a narrative is studied in regard to a conception of screenplay not as an autonomous literary work but as a series of texts corresponding to various stages of preparation for a film shooting (in our case a libretto, a literary script and a shooting script). The comparison of the literary script and the shooting script of the film “The Heir to Genghis Khan” written respectively by Osip Brik and Vsevolod Pudovkin reveals the shift of the narrative distance, that

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16

류훈. "Storytelling in film script - Focus on industrial feature films -." 한국문예비평연구 ll, no. 33 (December 2010): 7–40. http://dx.doi.org/10.35832/kmlc..33.201012.7.

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Wahana, Agung, Diena Rauda Ramdania, Dhanis Al Ghifari, Ichsan Taufik, Faiz M. Kaffah, and Yana Aditia Gerhana. "Breakdown film script using parsing algorithm." TELKOMNIKA (Telecommunication Computing Electronics and Control) 18, no. 4 (August 1, 2020): 1976. http://dx.doi.org/10.12928/telkomnika.v18i4.14849.

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Close, Ronnie. "More Out of Curiosity (Film Script)." Architecture and Culture 3, no. 1 (March 2015): 1–2. http://dx.doi.org/10.2752/205078215x14236574274104.

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محمد توم, أ. د. مجذوب بخيت, and أ. بهاء الدين محمد إبراهيم. "Documentaries and environmental issues in Sudan." علوم الاتصال 7, no. 3 (October 5, 2022): 1–42. http://dx.doi.org/10.52981/cs.v7i3.2699.

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 This study, entitled" Utilizing documentary films for environmental issues in Sudan: semiotic analysis of film “looted Kingdom " aims to find out how documentary Films contribute to environmental awareness and social change and how its address the issues of environment in Sudan. The study also aims to explore the connotations and implicit dimensions that the images of this film carries. The study uses a qualitative semiotic analytical approach based on the film script analysis.

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20

Lonngren, T. P. "‘...Insured against the tyranny of time’.Knut Hamsun’s last play and an unknown Russian film script." Voprosy literatury, no. 5 (December 19, 2018): 76–102. http://dx.doi.org/10.31425/0042-8795-2018-5-76-102.

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After a short summary of the story behind K. Hamsun’s play In the Grip of Life [Livet i Vold], its plot and stage history in Russia, the article proceeds to tell about an unknown film script. Cinematic adaptations of Hamsun’s books have always dominated Norwegian literature, while none of his dramatic pieces have made it to the screen. However, a film script was uncovered, an adaptation of In the Grip of Life: a play specially written for a Russian theatre. The script was found in the Russian State Archive of Literature and Arts, among the documents of Evgeny Sergeevich Khokhlov. Based on the

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21

Arcana, Judith. "Poem as Notes for a Film Script." Affilia 18, no. 2 (May 1, 2003): 229–33. http://dx.doi.org/10.1177/0886109903251423.

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Smith, C. Jason. "Film Voices: Interviews from Post Script (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 74–76. http://dx.doi.org/10.1353/flm.2006.0017.

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Marini, Fitri, and Pardi Pardi. "MORAL VALUES IN JUSTIN ZACKHAM’S MOVIE SCRIPT THE BUCKET LIST." JOURNAL OF LANGUAGE 4, no. 1 (May 29, 2022): 119–29. http://dx.doi.org/10.30743/jol.v4i1.5209.

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Justin Zackham published the script for his film The Bucket List in 2007. The script tells the story of two men who have serious illnesses and have a strong desire to continue doing things they haven't done before they die. The film script was adopted into a film in 2008. This study aims to reveal the moral values contained in the film script. Various theories related to moral values were adopted to support this analysis, but the main theory that will be used is the theory proposed by Berterns. Another concept is proposed by Elizabeth stating that moral is controlled by the moral, the rules of

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Martianova, Irina A. "The presence of the possible world of cinema text in the modern screenplay." Vestnik of Saint Petersburg University. Language and Literature 19, no. 3 (2022): 546–58. http://dx.doi.org/10.21638/spbu09.2022.309.

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The article analyzes the presence of the possible world of film text in A.P.Zvyagintsev’s and O.I.Negin’s screenplay Dislike. This text for the first time became the subject of philological analysis using comparative and contextual-functional methods. The director’s published comments allow tracing the path from the literary screenplay itself to the film text. As a result of the sampling of linguistic material, which reveals the presence of the possible world of the film text in the script, the specificity of its categories (integrity, coherence, completeness, dynamics, etc.) was revealed. The

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Nathansohn, Regev. "A Film Never Completed." Anthropology of the Middle East 14, no. 1 (June 1, 2019): 108–24. http://dx.doi.org/10.3167/ame.2019.140107.

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This is a story and analysis of a film production that has never materialised. The case study features a group of neighbourhood residents who wished to produce a film representing their experiences of living in a mixed neighbourhood in the northern Israeli city of Haifa, where Jews and Arabs live together. The ethnography of their work documents the incommensurability between the social interactions within the group and the content of the film’s script. While the group dynamic reflected the mixing atmosphere of the neighbourhood, their script succumbed to the hegemonic discourse of separation

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Walsh, Richard. "Ready for His Closeup? Pasolini’s San Paolo and Paul, Apostle of Christ (2018)." Journal of the Bible and its Reception 6, no. 1 (April 24, 2019): 1–37. http://dx.doi.org/10.1515/jbr-2019-1004.

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AbstractThe article uses Sunset Boulevard (1950) and the cinematic Paul pattern to reflect on San Paolo, Pasolini’s script for an unrealized Paul film, and on Paul, Apostle of Christ (2018). Typical Paul films, including television and church-use productions, present Paul in terms of a repeated pattern including 1) a spectacularly conceived Acts, 2) his martyrdom, 3) hagiography, and 4) biopic film structure. Despite focusing on Luke’s writing of Acts, rather than the content of Acts, Paul, Apostle of Christ follows the cinematic pattern quite closely. Even though it follows Acts more closely,

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Hairi, Sohibul. "THE PORTRAIT OF CHARACTER BUILDING IN ‘TWILIGHT’ FILM SCRIPT THROUGH ETHICAL VALUES." Journal of English for Academic and Specific Purposes 2, no. 1 (June 22, 2019): 33. http://dx.doi.org/10.18860/jeasp.v2i1.7262.

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Literature is a social phenomenon that is associated with writers, readers, and related aspects of human life that is expressed in a literary work. In this view, when someone attempts to analyze drama script to comprehend more about the drama, to conduct a discourse analysis on drama plays a significant role in the success of the analysis. Script or screenplay is one of literary work. There is 18 character education in Indonesia according to Panduan Pendidikan Karakter, Kemendikas 2010. They are: Religious, Honest, Disciplined, Hard Working, Creative, Independent, Democratic, Curious, National

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Barnard, Timothy P. "Film Melayu: Nationalism, modernity and film in a pre-World War Two Malay magazine." Journal of Southeast Asian Studies 41, no. 1 (December 21, 2009): 47–70. http://dx.doi.org/10.1017/s0022463409990257.

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Prior to World War Two many of the Malay-language films released in Singapore and Malaya were made in Java and the Philippines. Beginning in 1940 the Shaw Brothers began producing Malay films in Singapore for distribution to their theatre network throughout Malaya. The first Malay film magazine, Film Melayu, which began publishing in May 1941, documented the production and release of a number of these pre-war films in Singapore, providing one of the few avenues for a better understanding of the origins of Malay cinema. More importantly, this periodical was firmly ensconced within the Malay pub

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Dart, Jon, and Philip McDonald. "A Perfect Script? Manchester United’s Class of ’92." Journal of Sport and Social Issues 41, no. 2 (December 23, 2016): 118–32. http://dx.doi.org/10.1177/0193723516685272.

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The Class of ’92 is a documentary film featuring six Manchester United F.C. players who recount their time during a pivotal period for the club, English football and English society. The documentary claims to offer a commentary on Britain in the 1990s, but appears, without acknowledging the fact, to be a promotional vehicle to establish the six men as a brand labeled the Class of ’92 (CO92). Creating this brand necessarily involved presenting a selective account of their time and places with the film being little more than an advertisement, masquerading as an observational documentary. The fil

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Lotfy Mahmoud SAAD, Reem. "STORY TELLING AND ITS RELATION WITH FILM SCRIPT." International Journal of Creativity and Innovation in Humanities and Education 1, no. 1 (June 1, 2018): 1–23. http://dx.doi.org/10.21608/ijcihe.2018.182840.

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Jones, Kip. "On a Train from Morgantown: A Film Script." Psychological Studies 57, no. 2 (October 15, 2011): 224–35. http://dx.doi.org/10.1007/s12646-011-0123-9.

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Aaltonen, Jouko. "Script as a hypothesis: Scriptwriting for documentary film." Journal of Screenwriting 8, no. 1 (March 1, 2017): 55–65. http://dx.doi.org/10.1386/josc.8.1.55_1.

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Maras, Steven. "The Film Script as Blueprint: Collaboration and Moral Rights." Media International Australia 93, no. 1 (November 1999): 145–60. http://dx.doi.org/10.1177/1329878x9909300114.

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This article discusses and evaluates the definition of the film script as a blueprint which has come to play a prominent role in organising the relations between different film workers, as well as the ‘conceptual’ and ‘practical’ aspects of production. The article examines the implications of this idea in thinking about the process of production, its planning and execution, and its collaborative dimension. First formulated in a period of centralised ‘scientific management’, the article argues that, despite changes in the production context of film making, the blueprint idea continues to have a

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Hall, Ann C. "The Act of Interpretation." Thornton Wilder Journal 3, no. 1 (July 1, 2022): 45–55. http://dx.doi.org/10.5325/thorntonwilderj.3.1.0045.

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Abstract This article discusses various ways to teach Thornton Wilder’s script and Alfred Hitchcock’s film version of Shadow of a Doubt (1943). While serving as a metaphor for academic research, Shadow of a Doubt is also rich enough to present students with the question of interpretation: How can one work create multiple, even conflicting, meanings? After introducing basic film techniques and literary terms, more complicated interpretive situations, such as Hitchcock’s problematic representation of women or the differences between script and film, may be considered. Students, like the film’s h

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Dawson, Jonathan. "Dazzled by the Sun: Corporatising Queensland Film Culture." Media International Australia 89, no. 1 (November 1998): 109–23. http://dx.doi.org/10.1177/1329878x9808900112.

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In the wake of economic rationalism and the failed cyber-fantasies of Creative Nation, there has been an increasing tendency towards the corporatisation of film funding bodies at a time when a loosening of self-defensive bureaucratic systems might have been expected. For example, the Film Finance Corporation has created increasingly complex ‘professional’ systems of management and has foreshadowed a ‘last stage’ script assessment process that has created dismay in industry guilds. After exhaustive prior script development (and many funding and script editing stops), a project will face yet ano

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Perelshtein, Roman Maxovich. "The conflict of the "Inner" and "Outer" Person as Film Art's Archetypal Theme." Journal of Flm Arts and Film Studies 3, no. 1 (February 15, 2011): 67–77. http://dx.doi.org/10.17816/vgik3167-77.

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Film art could not ignore such an important theme as the conflict of the inner and outer personality ascending to the New Testament paradigm. Script writers have treated this conflict by way of various antinomies one of which is hard to overestimate. It is the contradiction between reality and game. The tragic and cruel conflict of the inner and outer personality is directly related to the opposition between reality as the script of our possible real life and the game as the script of escaping life.

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Kirsch, Griseldis. "POST-SCRIPT FROM FILM STUDIES: Whose choice? Watching non-English language films in the UK." Multilingua 38, no. 5 (September 25, 2019): 619–24. http://dx.doi.org/10.1515/multi-2018-0118.

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Abstract In a market dominated by Hollywood, it is easy to overlook that the number of films (and televised productions) which are not in English is actually by far greater than those in English. However, although some non-English language film industries are vast, only a comparatively small number of productions are screened outside of their country of origin. Therefore, before being translated and brought to screens for us to watch, already a filter applies, as the films are chosen by curators of film festivals or the industry. For that reason, films that are perhaps less representative but

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Gurina, EKATERINA. "“ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY." Journal of Education Culture and Society 9, no. 2 (September 5, 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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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.

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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imagina

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Brown, Daniel. "Wilde and Wilder." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 2004): 1216–30. http://dx.doi.org/10.1632/s0030812900101701.

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The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writ

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Kusuma, Shinta, Hirwan Kuardhani, and Rukman Rosadi. "Penciptaan Peran Tokoh Xiau Mei dalam Naskah Senja dan Penantian Karya Hernandes Saranela Terinspirasi dari Film The Chinese Widow." Dance and Theatre Review 3, no. 2 (October 20, 2020): 82. http://dx.doi.org/10.24821/dtr.v3i2.4420.

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The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by The Chinese Widow Film. The script of Senja dan Penantian written by Hernandes Saranela, tells about the waiting of a Chinese descent girl waiting for her lover to return from the battlefield. This realism script of the play presents its challenges and requires a lot of references. The Chinese Widow film is a source of ideas. Ying's character as the main character is lovely because the play's depth brings out firm acting details. The actress made a series of observations and us

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Prokhorova, Elizaveta V. "From script to film: Renata Litvinova’s Non-Love and Valerii Rubinchik’s film." Studies in Russian and Soviet Cinema 14, no. 2 (April 21, 2020): 156–69. http://dx.doi.org/10.1080/17503132.2020.1751389.

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Sasongko, Hario. "Menciptakan Karakter yang Menarik dalam Penulisan Naskah Film." Humaniora 4, no. 2 (October 31, 2013): 1176. http://dx.doi.org/10.21512/humaniora.v4i2.3559.

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The main character in a movie is the central to the film itself. Generally, a movie tells the story of a specific character. The character can be drawn from figures that exist in the real world or a fictional character. Thus, the success of a movie is always directly proportional to the success of a movie script writer in formulating the main character in the movie. By the increasing of techniques of writing a story, it can be determined how to make characters to be interesting in a movie script.

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Lee, Sung-Ae. "Lures and Horrors of Alterity: Adapting Korean Tales of Fox Spirits." International Research in Children's Literature 4, no. 2 (December 2011): 135–50. http://dx.doi.org/10.3366/ircl.2011.0022.

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Core incidents and motifs in retellings and adaptations of Korean folktales about supernatural foxes, known as Gumihos, have coalesced into a common, readily recognised fox-woman script. Since the end of the 1980s, the fox-woman script has become a focus for cultural conflict. The traditional stories are acknowledged to be part of Korea's intangible cultural heritage, and as such have been retold conservatively to preserve that heritage (especially in picture books) or have undergone major reinterpretation in attempts to reshape that heritage and imbue it with contemporary significance. Accord

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Balčus, Zane. "ANSIS EPNERS’ FILM “ALIVE”: FROM DOCUMENTARY TO FICTION." Culture Crossroads 14 (November 9, 2022): 54–62. http://dx.doi.org/10.55877/cc.vol14.90.

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The first short documentary “Alive” (Dzīvs, 1970) is an important signifier of Latvian director Ansis Epners’ (1937–2003) oeuvre both in terms of his approach to documentary film practice, and growing interest in fiction filmmaking. The film “Alive” and later idea to develop a full-length fiction film based on its main character demonstrate Epners’ unconventional expression of both kinds of filmmaking, which was received with a mixed response at the time. Epners used performative elements in the documentary, and included real-life character playing himself in the planned fiction film, challeng

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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (May 17, 2019): 64. http://dx.doi.org/10.3390/arts8020064.

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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by

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Hidayat, Didin Nuruddin, Leny Hikmah Rentiana, Alek Alek, and Yudi Septiawan. "THE USE OF DEIXIS IN WONDER WOMAN MOVIE (Penggunaan Deiksis dalam Film Wonder Woman)." Sirok Bastra 9, no. 1 (August 30, 2021): 35–44. http://dx.doi.org/10.37671/sb.v9i1.276.

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This research analyzes the use of deixis in the Wonder Woman script. It describes the types and the deixis in the Wonder Woman script performed by both the actors and the actresses. A qualitative method employing a descriptive analysis design was utilized. The data source of this research was collected by downloading the movie script from YouTube. The data were observed, transcribed, and categorized into some types of deixis. The result showed five kinds of deixis performed in the Wonder Woman movie: first person, second person, third person, temporal, and discourse. The research concluded tha

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Enyedi, Delia. "Janovics’ Menace: inquiries into a duplicated silent film script." Studies in Eastern European Cinema 12, no. 2 (March 22, 2021): 109–20. http://dx.doi.org/10.1080/2040350x.2021.1898115.

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Szekely, George. "Teaching Students to Become Independent Artists: A Film Script." Art Education 58, no. 1 (January 1, 2005): 41–54. http://dx.doi.org/10.1080/00043125.2005.11651527.

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McGovern, Timothy Michael. "Visions of Mexican Cinema and the Queer Film Script." Discourse 26, no. 1 (2004): 127–47. http://dx.doi.org/10.1353/dis.2005.0018.

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