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Voice in Screenwriting: Discovering/Recovering an Australian Voice

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Voice in Screenwriting: Discovering/Recovering an Australian Voice Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Voice in Screenwriting: Discovering/Recovering an Australian Voice Rosemary Kaye Ferrell Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Creative Writing Commons, and the Playwriting Commons Recommended Citation Ferrell, R. K. (2017). Voice in Screenwriting: Discovering/Recovering an Australian Voice. https://ro.ecu.edu.au/theses/2004 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2004 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Voice in Screenwriting: Discovering/Recovering an Australian Voice This thesis is presented for the degree of Doctor of Philosophy Rosemary Kaye Ferrell Bachelor of Arts, Murdoch University 1989 Edith Cowan University Western Australian Academy of Performing Arts 2017 Abstract This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world. The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams. The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film. i Declaration I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; ii. contain any material previously published or written by another person except where due reference is made in the text of this thesis; or iii. contain any defamatory material; Signed by: Date: 11th August 2017 ii Acknowledgements In acknowledging those who encouraged me to pursue this research, I must first thank the then-Director of the Western Australian Screen Academy Mr John Rapsey, and Associate Professor Dr Maggi Phillips. So began a journey which has been infinitely fulfilling, as it has been challenging. Closing after them, I must thank my Principal Supervisor, Dr Renee Newman, of the Western Australian Academy of Performing Arts, without whose support and guidance I couldn’t have completed this wonderful journey. Thanks go too, to my Consultant Supervisor, Dr Margaret McVeigh, of Griffith Film School, whose guidance in the final stages was much appreciated, particularly after the sad loss of Maggi during my candidature. There are many people who assisted in aspects of the research and to whom I am indebted. Annie Murtagh-Monks, Coordinator of the Perth Actors Collective (PAC) since 1992, arranged a public reading of the screenplay Cashflow. Alan Payne, Coordinator of the Australian Writers Guild’s (AWG) West Australian Branch, and staff members of the national office of the Guild, were instrumental in distributing the Screenwriter’s Questionnaire on Voice in Australia. AWG Script Assessor, Barbara Connell ably assessed both screenplays through the Guild’s script assessment service. Many thanks go too, to the other writers guilds whom I approached, most especially those of Ireland and Israel, who responded positively regarding distribution of the questionnaire. I was able to distribute it through the international Screenwriting Research Network’s listserver, and my deepest gratitude goes to all those writers who gave such fulsome answers regarding their perceptions of screenwriter’s voice. Others who assisted in the historical research and field trip included Zoe Scott, Regional Manager of the Western Australian Museum in Kalgoorlie; Di Stockdale and Robyn Horner, of the Eastern Goldfields Historical Society; Tim Moore, of the City of Kalgoorlie-Boulder Archives; Teresa Bennett and Mieke Boers, Librarians at the Curtin University, Kalgoorlie Campus library; Amanda Reidy, of the Australian Prospectors and Mining Hall of Fame; Carmel Galvin of Questa Casa brothel (the ‘Pink House’), and Kim, of Langtrees 131 brothel, in Kalgoorlie, which has since become a museum. Sam Marinov and Brock Stitts very kindly applied their STI-MAR system of screenwriting computer analysis to prepare two sets of analyses, for Calico Dreams and Cashflow. Such analyses may well prove valuable as a way of describing certain iii characteristics of screenwriter’s voice related to character configurations. I would also like to thank Helen Smith, musicologist, for her extensive knowledge on the music of the early goldfields, and for her generous enthusiasm for the project to incorporate music into the screenplay, Calico Dreams (not yet achieved). My sincerest thanks must also go to Dr Robyn Ferrell and Dr Rosalind DiProse for early conversations, and to Dr Peter Taylor for listening so patiently as I thrashed out ideas through many monologues. The research described has been developed through my attendance at several international conferences of the Screenwriting Research Network: in Sydney, Australia; Madison, USA; Babelsberg (Potsdam), Germany; Santiago, Chile; and Leeds, UK. Also through attendance at the International Popular Culture Association / American Culture Association conference held in Boston, USA, in 2012; and through the Voice / Presence / Absence Conference, an interdisciplinary conference convened through the University of Technology, Sydney, in February, 2013. It has been inspiring to hear the work of other researchers, and a privilege to receive their feedback, advice and encouragement through conversations along the way. I hope for many long hours in your company in the future. I was very fortunate to be supported throughout this research through the Australian Federal Government post graduate research funding programme. The Western Australian government and Lotterywest supported the PAC Scriptlab public script reading of the screenplay Cashflow through ScreenWest, which was the first milestone in this research journey. Thanks too, go to Edith Cowan University for their Postgraduate Research Scholarship stipend, which made life so much easier while completing this research. Finally, to friends and family, who encouraged me and took the load off at crucial times (particularly Pete, Bobby, Julian and Arlen), thanks for your love and encouragement, without which I would achieve only a tenth of what I actually do achieve! You are priceless. iv Table of Contents Abstract i Declaration ii Acknowledgements iii Table of Contents v Table of Tables viii Table of Figures ix Research Outputs x v Part I ~ Origins of the Research Introduction 1 Background 8 Questions 10 American Voice in Cashflow
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