Introduction
Notes Introduction 1. In Scott MacDonald, ed., Screen Writings: Scripts and Texts by Independent Filmmakers (Berkeley: University of California Press, 1995), p. 22. 2. In MacDonald, p. 19. 3. See in particular Steven Maras, Screenwriting: History, Theory and Practice (London: Wallflower, 2009), p. 82. 4. Tom Stempel, FrameWork: A History of Screenwriting in the American Film, 2nd ed. (New York: Continuum, 1991), p. 62. 5. Marc Norman, What Happens Next: A History of American Screenwriting (London: Aurum, 2008), p. 42. 6. Larry Ceplair and Steven Englund, The Inquisition in Hollywood: Politics in the Film Community, 1930–1960 (New York: Anchor/Doubleday, 1980). 7. Lizzie Francke, Script Girls: Women Screenwriters in Hollywood (London: British Film Institute, 1994). 8. Richard Corliss, Talking Pictures: Screenwriters in the American Cinema [1974] (New York: Overlook, 1985). 9. David Bordwell, The Way Hollywood Tells It: Story and Style in Modern Movies (Berkeley: University of California Press, 2006); Kristin Thompson, Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Cambridge, Mass.: Harvard University Press, 1999). 10. Maras, pp. 1–2. 11. David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1985); Janet Staiger, ‘Blueprints for Feature Films: Hollywood’s Continuity Scripts’, in Tino Balio (ed.), The American Film Industry, rev. ed. (Madison: University of Wisconsin Press, 1985), pp. 173–92. 12. Alexander Schwarz, Der Geschriebene Film: Drehbücher des Deutschen und Russischen Stummfilms (Munich: Diskurs Film, 1994). 13. Colin Crisp, The Classic French Cinema, 1930–1960 (Bloomington: Indiana University Press, 1993). 14. Kristin Thompson, ‘Early Alternatives to the Hollywood Mode of Production: Implications for Europe’s Avant-Gardes’, in Lee Grieveson and Peter Krämer (eds), The Silent Cinema Reader (London: Routledge, 2004), pp.
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