Bollettino Ottobre 2010
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Witness (1985 Film)
Witness (1985 film) From Wikipedia, the free encyclopedia Jump to: navigation, search Witness Original poster Directed by Peter Weir Produced by Edward S. Feldman William Kelley Written by Pamela Wallace Earl W. Wallace Harrison Ford Kelly McGillis Jan Rubes Starring Danny Glover Lukas Haas Viggo Mortensen Music by Maurice Jarre Cinematography John Seale Editing by Thom Noble Distributed by Paramount Pictures Release date(s) February 8, 1985 Running time 112 minutes Country United States Language English Budget $12,000,000 (estimated) Gross revenue $68,706,993 (US) [1] Witness is a 1985 American thriller film directed by Peter Weir and starring Harrison Ford and Kelly McGillis. The screenplay by William Kelley, Pamela Wallace, and Earl W. Wallace focuses on a detective protecting a young Amish boy who becomes the target of a ruthless killer after he witnesses a brutal murder in Philadelphia's 30th Street train station. The film was nominated for eight Academy Awards and won two, for Best Original Screenplay and Best Film Editing. It was also nominated for seven BAFTA Awards, winning one for Maurice Jarre's score, and was also nominated for six Golden Globe Awards. William Kelley and Earl W. Wallace won the Writers Guild of America Award for Best Original Screenplay and the 1986 Edgar Award for Best Motion Picture Screenplay presented by the Mystery Writers of America. The film is also notable as the screen debut of future stars Viggo Mortensen and Lukas Haas. The film's script is a frequent model for budding screenwriters, often used to display clear structure in a script. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
The Tools of Screenwriting
$14.95/ $17.25 Can. "What David Howard has done with The Tools of Screenwritin is to n The Tools of Screenwriting, David reveal for me and for all readers just Howard and �dward Mabley illuminate how stories work; he shows that the essential elements of cinematic there are no absolute rules, but there are principles that can help a begin storytelling, and reveal the central ning writer gain understanding of all · principles that all good screenplays the elements that go into the cre share. The authors address questions of ation of a'good story well told.' " dramatic structure, plot, dialogue, charac ter development, setting, imagery, and other crucial topics as they apply to the '�is the special art of filmmaking. best primer on the craft, far better than the usual paint-by-the-numbers Howard and Mabley also demonstrate sort of books that abound." how the tools of screenwriting work in six teen notable films, including Citizen Kane, �.T., One Flew Over the Cuckoo's Nest, Rashomon, The Godfather, North by Northwest, Chinatown, and sex, lies and videotape. "As my screenwriting teacher, David The Tools of Screenwriting is an essen Howard made the underlying princi tial book for anyone who studies film or ples of screenwriting clear, accessi ble, and useful. The same can be said wants to write a screenplay. of his succinct and elegant book, which I've already used as a much needed refresher course. It's sitting "David Howard calls this book 'a next to my computer now, right next writer's guide.' I think it's a wonder to the thesaurus." ful and indispensable producer's guide to story, storytelling, and screenwriting." ISBN-13: 978-0-312-11908-9 ISBN-IO: 0-312-11908-9 51 495> I 1 9 "780312 119089 I PRAIS E FOR THIS BOOK "David Howard and Edward Mabley's The To ols of Screen writing is a prac tical, comprehensive guide for writers at all levels. -
OSCAR IMPACT CHART Updated with 2008 Stats
OSCAR IMPACT CHART Updated with 2008 Stats Oscar Release Films Total Woman Woman Female Year Year Included Noms Director Writer(s) Impact 2008 2007 5 10 2 5 25.0% 2007 2006 4 9 1 3 22.5% 2006 2005 3 9 1 2 22.5% 2005 2004 1 1 0 1 2.5% 2004 2003 8 15 6 10 37.5% 2003 2002 3 3 1 5 7.5% 2002 2001 3 6 1 4 15.0% 2001 2000 2 7 0 2 17.5% 2000 1999 4 5 1 5 12.5% “Percent Impact” is determined by counting the number of nominations given to films in which women have served “behind-the-scenes” as either director &/or screenwriter in the 8 “major categories” (Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay & Best Original Screenplay). Close analysis shows actresses have been the primary beneficiaries; the filmmakers’ efforts have rarely been rewarded. YEAR NOMS FILMS WRITTEN &/OR DIRECTED BY WOMEN AWAY FROM HER (2), JUNO (4), LARS & THE REAL GIRL (1), 2008 10 LA VIE EN ROSE (1), & THE SAVAGES (2) THE DEVIL WEARS PRADA (1), HALF NELSON (1), 2007 9 LETTERS FROM IWO JIMA (3),& LITTLE MISS SUNSHINE (4) 2006 9 BROKEBACK MOUNTAIN (6), NORTH COUNTRY (2), PRIDE & PREJUDICE (1) 2005 1 BEFORE SUNSET (1) AMERICAN SPLENDOR (1), IN AMERICA (3), LORD OF THE RINGS #3 (4), 2004 15 LOST IN TRANSLATION (3), MONSTER (1), SOMETHING’S GOTTA GIVE (1), THIRTEEN (1), & WHALE RIDER (1) 2003 3 FRIDA (1), LORD OF THE RINGS #2 (1), & MY BIG FAT GREEK WEDDING (1) 2002 6 BRIDGET JONES’S DIARY (1), I AM SAM (1), & LORD OF THE RINGS #1 (4) 2001 7 ERIN BROCKOVICH (5) & POLL0CK (2) BOYS DON’T CRY (2), GIRL INTERRUPTED (1), MUSIC OF THE HEART (1) 2000 5 & TUMBLEWEEDS (1) UPDATE © Jan Lisa Huttner (2/11/09) JAN’S OSCAR WATCH No woman has ever received an Oscar for Best Director & only 3 out of 401* nominees in 80 years (.75%) have been women: Oscar Year Nominated for Best Director 2004 Sofia Coppola (LOST IN TRANSLATION) 1993 Jane Campion (THE PIANO) 1976 Lina Wertmuller (SEVEN BEAUTIES) * Brothers Joel & Ethan Coen were nominated together in 2008 as co-directors of NO COUNTRY FOR OLD MEN. -
The Pyjama Girl and Submerged Women, Liminal Voices
The Pyjama Girl and Submerged women, liminal voices: A feminist investigation of feature film screenwriting as creative practice Lezli-An Barrett BA Hons 1st class Fine Art and History of Art (Goldsmiths’ College University of London, 1979) Master of Arts in Screenwriting and Screen Research (London College of Printing, The London Institute, University of the Arts London, 1998) This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities English and Cultural Studies (Creative Writing) 2017 ii THESIS DECLARATION I, Lezli-An Barrett, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by The University of Western Australia Human Research Ethics Committee. Approval #: RA/4/1/2444 This thesis does not contain work that I have published, nor work under review for publication. -
Baseball NCAA World Series Championship, Game 2: Teams TBA
T U E S D A Y 162nd YeAr • no. 51 June 28, 2016 cleVelAnD, Tn 16 PAGes • 50¢ Council OKs new city manager salary, benefits By JOYANNA LOVE year and 50 days of sick time with more accruing his family over the weekend, final seven was established. Three alternates were Banner Senior Staff Writer over time. He will also be able to join a local civic and the family was looking for- also named. Fivas became one of the finalists club with dues paid by the city. Dues for profes- ward to moving here,” said from the alternates list when one of the original The Cleveland City Council has unanimously sional organizations, such as the Tennessee City Mayor Tom Rowland. five withdrew, after accepting a position else- approved a salary and benefits package for Joe Management Association, would also be covered. Vice Mayor George Poe said where. Candidates had interviews via video con- Fivas, the incoming city manager. Moving costs will be covered by the city of he felt the Council had met the ferencing before the final four were brought in for Fivas will begin Aug. 11. His starting salary will Cleveland. time frame that the residents of face-to-face interviews. One of the final five with- be $140,000. “We had a lengthy meeting with Mr. Fivas. I the city wanted to see. drew their application. A benefits package, very similar to that of the think we have a winner in Mr. Fivas,” Hughes Councilman Richard Banks During his interview, Fivas had commented on previous city manager, was presented by said. -
Lifetime Reading List in Chronological Order Antiquity
Lifetime Reading List in Chronological Order Antiquity - 1500 For those who want to read only the minimum necessary to have a good background in the Classics, I have starred in red (*) the texts from antiquity (through the year A.D. 500) likely to be most useful in understanding later authors. Date Read Author’s Life Span Author and Title c. 2150-2000 B.C. * The Epic of Gilgamesh c. 1200-100 B.C. * Old Testament (Selected Books) [Authorized King James Version] * Torah: Genesis, Exodus, Leviticus, Numbers Deuteronomy * Historical Books: Joshua, Judges, Ruth, 1 Samuel, 2 Samuel, 1 Kings, Ezra Nehemiah, Esther * Wisdom Books: Job, Psalms, Proverbs, Ecclesiastes, Song of Solomon * Major Prophets: Isaiah, Jeremiah, Lamentations, Ezekiel, Daniel * Minor Prophets: Hosea, Amos fl. 750-675 B.C. * Homer: The Iliad * Homer: The Odyssey after 700 B.C. Homeric Hymns fl. 700-650 B.C. Hesiod: The Shield of Herakles * Hesiod: Works and Days * Hesiod: Theogony 6th c. B.C. Aesop: Fables 6th c. B.C. Confucius: Analects c. 590 B.C. Sappho: Lyrics c. 522-448 B.C. * Pindar: Odes 523?-456 B.C. * Aeschylus: Agamemnon (Orestes Trilogy 1) * Aeschylus: The Libation Bearers (Orestes Trilogy 2) * Aeschylus: The Eumenides (Orestes Trilogy 3) * Aeschylus: Prometheus Bound Aeschylus: The Suppliant Maidens Aeschylus: The Persians Aeschylus: The Seven Against Thebes 496?-406 B.C. * Sophocles: Oedipus the King * Sophocles: Oedipus at Colonus 1 Date Read Author’s Life Span Author and Title 496?-406 B.C. * Sophocles: Antigone Sophocles: Ajax Sophocles: The Women of Trachis Sophocles: Electra Sophocles: Philoctetes 484?-406 B.C. * Euripides: Alcestis (438 B.C.) * Euripides: Medea (431 B.C.) Euripides: The Heracleidae (The Children of Heracles) * Euripides: Hippolytus (428 B.C.) Euripides: Andromache Euripides: Hecuba (c. -
Story S·T·O·R·Y
S·T·O·R·Y STORY S·T·O·R·Y Substance, Structure, Style, and the Principles of Screenwriting R O B E R T M c K E E I dedicate this book to the happy memory of my parents who, in their very different ways, taught me the love of story. When I was first learning to read, but not always behaving appropriately, my father introduced me to the fables of Aesop in the hope that these ancient cautionary tales might improve my deportment. Each evening, after working my way through the likes of “The Fox and the Grapes,” he would nod and ask, “And what does this story mean to you, Robert?” As I stared at these texts and their handsome color illustrations, struggling to find my interpretations, I slowly came to realize that stories mean much more than words and pretty pictures. Later, before entering the university, I deduced that the best possible life includes as many rounds of golf as possible, and therefore, I would become a dentist. “Dentist?!” my mother laughed. “You can’t be serious. What happens when they cure all teeth problems? Where will dentists be then? No, Bobby, people will always need entertainment. I’m looking out for your future. You’re going into show business.” Contents Notes on the Text Part 1 The Writer and the Art of Story Introduction 1 The Story Problem Part 2 The Elements of Story 2 The Structure Spectrum 3 Structure and Setting 4 Structure and Genre 5 Structure and Character 6 Structure and Meaning Part 3 The Principles of Story Design 7 The Substance of Story 8 The Inciting Incident 9 Act Design 10 Scene Design 11 Scene Analysis 12 Composition 13 Crisis, Climax, Resolution Part 4 The Writer at Work 14 The Principle of Antagonism 15 Exposition 16 Problems and Solutions 17 Character 18 The Text 19 A Writer’s Method Fade Out Suggested Readings Filmography Index Acknowledgments About the Author Copyright About the Publisher NOTES ON THE TEXT The hundreds of examples in Story are drawn from a century of film writing and filmmaking around the world.