Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch
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GCWC WAG Creative Writing
GASTON COLLEGE Creative Writing Writing Center I. GENERAL PURPOSE/AUDIENCE Creative writing may take many forms, such as fiction, creative non-fiction, poetry, playwriting, and screenwriting. Creative writers can turn almost any situation into possible writing material. Creative writers have a lot of freedom to work with and can experiment with form in their work, but they should also be aware of common tropes and forms within their chosen style. For instance, short story writers should be aware of what represents common structures within that genre in published fiction and steer away from using the structures of TV shows or movies. Audiences may include any reader of the genre that the author chooses to use; therefore, authors should address potential audiences for their writing outside the classroom. What’s more, students should address a national audience of interested readers—not just familiar readers who will know about a particular location or situation (for example, college life). II. TYPES OF WRITING • Fiction (novels and short stories) • Creative non-fiction • Poetry • Plays • Screenplays Assignments will vary from instructor to instructor and class to class, but students in all Creative Writing classes are assigned writing exercises and will also provide peer critiques of their classmates’ work. In a university setting, instructors expect prose to be in the realistic, literary vein unless otherwise specified. III. TYPES OF EVIDENCE • Subjective: personal accounts and storytelling; invention • Objective: historical data, historical and cultural accuracy: Work set in any period of the past (or present) should reflect the facts, events, details, and culture of its time and place. -
The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41). -
Why Does the Screenwriter Cross the Road…By Joe Gilford 1
WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 1 WHY DOES THE SCREENWRITER CROSS THE ROAD? …and other screenwriting secrets. by Joe Gilford TABLE OF CONTENTS INTRODUCTION (included on this web page) 1. FILM IS NOT A VISUAL MEDIUM 2. SCREENPLAYS ARE NOT WRITTEN—THEY’RE BUILT 3. SO THERE’S THIS PERSON… 4. SUSTAINABLE SCREENWRITING 5. WHAT’S THE WORST THAT CAN HAPPEN?—THAT’S WHAT HAPPENS! 6. IF YOU DON’T BELIEVE THIS STORY—WHO WILL?? 7. TOOLBAG: THE TRICKS, GAGS & GADGETS OF THE TRADE 8. OK, GO WRITE YOUR SCRIPT 9. NOW WHAT? INTRODUCTION Let’s admit it: writing a good screenplay isn’t easy. Any seasoned professional, including me, can tell you that. You really want it to go well. You really want to do a good job. You want those involved — including yourself — to be very pleased. You really want it to be satisfying for all parties, in this case that means your characters and your audience. WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 2 I believe great care is always taken in writing the best screenplays. The story needs to be psychically and spiritually nutritious. This isn’t a one-night stand. This is something that needs to be meaningful, maybe even last a lifetime, which is difficult even under the best circumstances. Believe it or not, in the end, it needs to make sense in some way. Even if you don’t see yourself as some kind of “artist,” you can’t avoid it. You’re going to be writing this script using your whole psyche. -
Cue the Music: Music in Movies Kelsey M
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2017 yS mposium Apr 12th, 3:00 PM - 3:30 PM Cue the Music: Music in Movies Kelsey M. DePree Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, Film and Media Studies Commons, and the Other Music Commons DePree, Kelsey M., "Cue the Music: Music in Movies" (2017). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2017/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. The Music We Watch Kelsey De Pree Music History II April 5, 2017 Music is universal. It is present from the beginning of history appearing in all cultures, nations, economic classes, and styles. Music in America is heard on radios, in cars, on phones, and in stores. Television commercials feature jingles so viewers can remember the products; radio ads sing phone numbers so that listeners can recall them. In schools, students sing songs to learn subjects like math, history, and English, and also to learn about general knowledge like the days of the week, months of the year, and presidents of the United States. With the amount of music that is available, it is not surprising that music has also made its way into movie theatres and has become one of the primary agents for conveying emotion and plot during a cinematic production. -
The Soundtrack: Putting Music in Its Place
The Soundtrack: Putting Music in its Place. Professor Stephen Deutsch The Soundtrack Vol 1, No 1, 2008 tbc Intellect Press http://www.intellectbooks.co.uk/journals.php?issn=17514193 Abstract There are currently many books and journals on film music in print, most of which describe music as a separate activity from film, applied to images most often at the very end of the production process by composers normally resident outside the filmic world. This article endeavours to modify this practice by placing music within the larger notion of “the soundtrack”. This new model assumes that irrespective of industrial determinants, the soundtrack is perceived by an audience as such a unity; that music, dialogue, effects and atmospheres are heard as interdependent layers in the sonification of the film. We often can identify the individual sonic elements when they appear, but we are more aware of the blending they produce when sounding together, much as we are when we hear an orchestra. To begin, one can posit a definition of the word ‘soundtrack’. For the purposes of this discussion, a soundtrack is intentional sound which accompanies moving images in narrative film1. This intentionality does not exclude sounds which are captured accidentally (such as the ambient noise most often associated with documentary footage); rather it suggests that any such sounds, however recorded, are deliberately presented with images by film-makers.2 All elements of the soundtrack operate on the viewer in complex ways, both emotionally and cognitively. Recognition of this potential to alter a viewer’s reading of a film might encourage directors to become more mindful of a soundtrack’s content, especially of its musical elements, which, as we shall see below, are likely to affect the emotional environment through which the viewer experiences film. -
GéZa Von Bolvã¡Ry ̘͙” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
Géza von Bolváry ì˜í ™” 명부 (작품으로) The Prisoners of Shanghai https://ko.listvote.com/lists/film/movies/the-prisoners-of-shanghai-19840598/actors The Way to the Light https://ko.listvote.com/lists/film/movies/the-way-to-the-light-55635624/actors The Royal Grenadiers https://ko.listvote.com/lists/film/movies/the-royal-grenadiers-56064216/actors The Princess of the Riviera https://ko.listvote.com/lists/film/movies/the-princess-of-the-riviera-28130371/actors Farewell Waltz https://ko.listvote.com/lists/film/movies/farewell-waltz-107210116/actors Die Fledermaus https://ko.listvote.com/lists/film/movies/die-fledermaus-1212466/actors Schwarzwaldmelodie https://ko.listvote.com/lists/film/movies/schwarzwaldmelodie-1238382/actors A Song Goes Round the World https://ko.listvote.com/lists/film/movies/a-song-goes-round-the-world-1304847/actors Once I Will Return https://ko.listvote.com/lists/film/movies/once-i-will-return-1308385/actors Flower of the Tisza https://ko.listvote.com/lists/film/movies/flower-of-the-tisza-1321620/actors Zauber der Bohème https://ko.listvote.com/lists/film/movies/zauber-der-boh%C3%A8me-148379/actors Yes, Yes, Love in Tyrol https://ko.listvote.com/lists/film/movies/yes%2C-yes%2C-love-in-tyrol-1544574/actors The Irresistible Man https://ko.listvote.com/lists/film/movies/the-irresistible-man-15805216/actors Premiere https://ko.listvote.com/lists/film/movies/premiere-1591914/actors Roses in Tyrol https://ko.listvote.com/lists/film/movies/roses-in-tyrol-1609985/actors Schrammeln https://ko.listvote.com/lists/film/movies/schrammeln-1643798/actors -
To Film Sound Maps: the Evolution of Live Tone’S Creative Alliance with Bong Joon-Ho
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham From ‘Screenwriting for Sound’ to Film Sound Maps: The Evolution of Live Tone’s Creative Alliance with Bong Joon-ho Nikki J. Y. Lee and Julian Stringer Abstract: In his article ‘Screenwriting for Sound’, Randy Thom makes a persuasive case that sound designers should be involved in film production ‘as early as the screenplay…early participation of sound can make a big difference’. Drawing on a critically neglected yet internationally significant example of a creative alliance between a director and post- production team, this article demonstrates that early participation happens in innovative ways in today’s globally competitive South Korean film industry. This key argument is presented through close analysis of the ongoing collaboration between Live Tone - the leading audio postproduction studio in South Korea – and internationally acclaimed director Bong Joon-ho, who has worked with the company on all six of his feature films to date. Their creative alliance has recently ventured into new and ambitious territory as audio studio and director have risen to the challenge of designing the sound for the two biggest films in Korean movie history, Snowpiercer and Okja. Both of these large-scale multi-language movies were planned at the screenplay stage via coordinated use of Live Tone’s singular development of ‘film sound maps’. It is this close and efficient interaction between audio company and client that has helped Bong and Live Tone bring to maturity their plans for the two films’ highly challenging soundscapes. -
Telling Stories with Soundtracks: an Empirical Analysis of Music in Film
Telling Stories with Soundtracks: An Empirical Analysis of Music in Film Jon Gillick David Bamman School of Information School of Information University of California, Berkeley University of California, Berkeley [email protected] [email protected] Abstract (Guha et al., 2015; Kociskˇ y` et al., 2017), natural language understanding (Frermann et al., 2017), Soundtracks play an important role in carry- ing the story of a film. In this work, we col- summarization (Gorinski and Lapata, 2015) and lect a corpus of movies and television shows image captioning (Zhu et al., 2015; Rohrbach matched with subtitles and soundtracks and et al., 2015, 2017; Tapaswi et al., 2015), the analyze the relationship between story, song, modalities examined are almost exclusively lim- and audience reception. We look at the con- ited to text and image. In this work, we present tent of a film through the lens of its latent top- a new perspective on multimodal storytelling by ics and at the content of a song through de- focusing on a so-far neglected aspect of narrative: scriptors of its musical attributes. In two ex- the role of music. periments, we find first that individual topics are strongly associated with musical attributes, We focus specifically on the ways in which 1 and second, that musical attributes of sound- soundtracks contribute to films, presenting a first tracks are predictive of film ratings, even after look from a computational modeling perspective controlling for topic and genre. into soundtracks as storytelling devices. By devel- oping models that connect films with musical pa- 1 Introduction rameters of soundtracks, we can gain insight into The medium of film is often taken to be a canon- musical choices both past and future. -
Understanding Screenwriting'
Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges. -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Introduction Screenwriting Off the Page
Introduction Screenwriting off the Page The product of the dream factory is not one of the same nature as are the material objects turned out on most assembly lines. For them, uniformity is essential; for the motion picture, originality is important. The conflict between the two qualities is a major problem in Hollywood. hortense powdermaker1 A screenplay writer, screenwriter for short, or scriptwriter or scenarist is a writer who practices the craft of screenwriting, writing screenplays on which mass media such as films, television programs, comics or video games are based. Wikipedia In the documentary Dreams on Spec (2007), filmmaker Daniel J. Snyder tests studio executive Jack Warner’s famous line: “Writers are just sch- mucks with Underwoods.” Snyder seeks to explain, for example, why a writer would take the time to craft an original “spec” script without a mon- etary advance and with only the dimmest of possibilities that it will be bought by a studio or producer. Extending anthropologist Hortense Powdermaker’s 1950s framing of Hollywood in the era of Jack Warner and other classic Hollywood moguls as a “dream factory,” Dreams on Spec pro- files the creative and economic nightmares experienced by contemporary screenwriters hoping to clock in on Hollywood’s assembly line of creative uniformity. There is something to learn about the craft and profession of screenwrit- ing from all the characters in this documentary. One of the interviewees, Dennis Palumbo (My Favorite Year, 1982), addresses the downside of the struggling screenwriter’s life with a healthy dose of pragmatism: “A writ- er’s life and a writer’s struggle can be really hard on relationships, very hard for your mate to understand. -
Novidades Adultos 2014
Los puentes de Madison = The bridges of Madison county / screenplay by Richard LaGravanese ; produced by Clint Eastwood and Kathleen Kennedy ; directed by Clint Eastwood. Ano de realización: 1995 Duración: 129 min. Localización: CINE 791-DM PUE [AUDV 19] Memorias de África = Out of Africa / directed by Sydney Pollack ; screenplay by Kurt Luedtke ; music by John Barry. Ano de realización: 1985 Duración: 154 min. Localización: CINE 791-DM MEM Lo que queda del día / una película de James Ivory ; screenplay by Ruth Prawer Jhabvala ; guión de Ruth Prawer Jhabvala ; música de Richard Robbins. Ano de realización: 1993 Duración: 129 min. Localización: CINE 791-DM LOQ Maridos y mujeres = Husbands and wives / una comedia escrita y dirigida por Woody Allen. Ano de realización: 1992 Duración: 103 min. Localización: CINE 791-C MAR Groundhog day = [Atrapado en el tiempo] / directed by Harold Ramis ; screenplay by Danny Rubin and Harol Rams ; produced by Trevor Albert and Harold Rams. Ano de realización: 1993 Duración: 97 min. Localización: CINE 791-C ATR La vida de Adèle / Abdellatif Kechiche. Ano de realización: 2013 Duración: 180 min. Localización: CINE 791-DM VID Los amantes del Círculo Polar / una película de Julio Medem. Ano de realización: 1998 Duración: 112 min. Localización: CINE 791-DM AMA Call me by your name / directed by Luca Guadagnino ; screenplay by James Ivory. Ano de realización: 2017 Duración: 127 min. Localización: CINE 791-DM CAL Midnight in Paris / escrita y dirigida por Woody Allen ; productores Letty Aronson, Stephen Tenenbaum, Jaume Roures. Ano de realización: 2011 Duración: 94 min. Localización: CINE 791-C MID El diario de Noa / dirigida por Nick Cassavetes ; guión de Jeremy Leven ; producida por Mark Johnson, Lynn Harris.