BEST ORIGINAL SCREENPLAY Written and Directed by Nat Faxon and Jim Rash
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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). -
Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
Strategic Stories: an Analysis of the Profile Genre Amy Jessee Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2009 Strategic Stories: An Analysis of the Profile Genre Amy Jessee Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Mass Communication Commons Recommended Citation Jessee, Amy, "Strategic Stories: An Analysis of the Profile Genre" (2009). All Theses. 550. https://tigerprints.clemson.edu/all_theses/550 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. STRATEGIC STORIES: AN ANALYSIS OF THE PROFILE GENRE A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Amy Katherine Jessee May 2009 Accepted by: Dr. Sean Williams, Committee Chair Dr. Susan Hilligoss Dr. Mihaela Vorvoreanu ABSTRACT This case study examined the form and function of student profiles published on five university websites. This emergent form of the profile stems from antecedents in journalism, biography, and art, while adapting to a new rhetorical situation: the marketization of university discourse. Through this theoretical framework, universities market their products and services to their consumer, the student, and stories of current students realize and reveal a shift in discursive practices that changes the way we view universities. A genre analysis of 15 profiles demonstrates how their visual patterns and obligatory move structure create a cohesive narrative and two characters. They strategically show features of a successful student fitting with the institutional values and sketch an outline of the institutional identity. -
Satirical News Detection and Analysis Using Attention Mechanism and Linguistic Features
Satirical News Detection and Analysis using Attention Mechanism and Linguistic Features Fan Yang and Arjun Mukherjee Eduard Gragut Department of Computer Science Computer and Information Sciences University of Houston Temple University fyang11,arjun @uh.edu [email protected] { } Abstract ... “Kids these days are done with stories where things happen,” said CBC consultant and world's oldest child Satirical news is considered to be enter- psychologist Obadiah Sugarman. “We'll finally be giv- tainment, but it is potentially deceptive ing them the stiff Victorian morality that I assume is in and harmful. Despite the embedded genre vogue. Not to mention, doing a period piece is a great way to make sure white people are adequately repre- in the article, not everyone can recognize sented on television.” the satirical cues and therefore believe the ... news as true news. We observe that satiri- Table 1: A paragraph of satirical news cal cues are often reflected in certain para- graphs rather than the whole document. Existing works only consider document- gardless of the ridiculous content1. It is also con- level features to detect the satire, which cluded that fake news is similar to satirical news could be limited. We consider paragraph- via a thorough comparison among true news, fake level linguistic features to unveil the satire news, and satirical news (Horne and Adali, 2017). by incorporating neural network and atten- This paper focuses on satirical news detection to tion mechanism. We investigate the differ- ensure the trustworthiness of online news and pre- ence between paragraph-level features and vent the spreading of potential misleading infor- document-level features, and analyze them mation. -
Songs by Artist
Songs by Artist Artist Title DiscID 10,000 Maniacs Because The Night 00321,15543 10,000 Maniacs Candy Everybody Wants 10942 10,000 Maniacs Like The Weather 05969 10,000 Maniacs More Than This 06024 10cc Donna 03724 10cc Dreadlock Holiday 03126 10cc I'm Mandy Fly Me 03613 10cc I'm Not In Love 11450,14336 10cc Rubber Bullets 03529 10cc Things We Do For Love, The 14501 112 Dance With Me 09860 112 Peaches & Cream 09796 112 Right Here For You 05387 112 & Ludacris Hot & Wet 05373 112 & Super Cat Na Na Na 05357 12 Stones Far Away 12529 1999 Man United Squad Lift It High (All About Belief) 04207 2 Brothers On 4th Come Take My Hand 02283 2 Evisa Oh La La La 03958 2 Pac Dear Mama 11040 2 Pac & Eminem One Day At A Time 05393 2 Pac & Eric Will Do For Love 01942 2 Unlimited No Limits 02287,03057 21st Century Girls 21st Century Girls 04201 3 Colours Red Beautiful Day 04126 3 Doors Down Be Like That 06336,09674,14734 3 Doors Down Duck & Run 09625 3 Doors Down Kryptonite 02103,07341,08699,14118,17278 3 Doors Down Let Me Go 05609,05779 3 Doors Down Loser 07769,09572 3 Doors Down Road I'm On, The 10448 3 Doors Down When I'm Gone 06477,10130,15151 3 Of Hearts Arizona Rain 07992 311 All Mixed Up 14627 311 Amber 05175,09884 311 Beyond The Grey Sky 05267 311 Creatures (For A While) 05243 311 First Straw 05493 311 I'll Be Here A While 09712 311 Love Song 12824 311 You Wouldn't Believe 09684 38 Special If I'd Been The One 01399 38 Special Second Chance 16644 3LW I Do (Wanna Get Close To You) 05043 3LW No More (Baby I'm A Do Right) 09798 3LW Playas Gon' Play -
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. -
Active Play: Simple Games and Activity Ideas
Active Play: Simple Games and Activity Ideas Children have different needs and abilities depending upon their age. Children need a safe environment that promotes and encourages their physical, intellectual, emotional and social growth. Keep the ages and needs of the children in your care in mind when planning games and activities. Younger children have shorter attention spans, and are just learning how to coordinator their bodies, while older children may get bored with not enough of a “challenge” in the game or activities. Read more about children’s developmental ages and stages: Growth and Development Child’s Development Ages & Stages Go, Go, Stop Pick a leader, and start and end spots. Have children line up at the start and the leader stand at the end with his back to the children. The object is to get to the end where the leader is. Have the leader yell go, go, go for a few seconds (i.e., 2 second, 10 seconds, etc.) and then yell stop. All children stop and freeze. If the leader turns around and sees any child moving, that child has to go back to the starting spot. The game ends when a child touches the leader. Follow the Leader To begin the game, you may want an adult to lead. Children line up behind the leader. The leader decides the actions for children to follow. The children mimic the leader's actions. Any players who fail to follow or do what the leader does are out of the game. Change leaders and give every child time to lead the others. -
Dj Issue Can’T Explain Just What Attracts Me to This Dirty Game
MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS E-40, TURF TALK OZONE MAGAZINE MAGAZINE OZONE FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME ME TO ATTRACTS JUST WHAT MIMS PIMP C BIG BOI LIL FLIP THREE 6 MAFIA RICK ROSS & CAROL CITY CARTEL SLICK PULLA SLIM THUG’s YOUNG JEEZY BOSS HOGG OUTLAWZ & BLOODRAW: B.G.’s CHOPPER CITY BOYZ & MORE APRIL 2007 USDAUSDAUSDA * SCANDALOUS SIDEKICK HACKING * RAPQUEST: THE ULTIMATE* GANGSTA RAP GRILLZ ROADTRIP &WISHLIST MORE GUIDE MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS REAL, RAW, & UNCENSORED SOUTHERN RAP E-40, TURF TALK FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE MIMS PIMP C LIL FLIP THREE 6 MAFIA & THE SLIM THUG’s BOSS HOGG OUTLAWZ BIG BOI & PURPLE RIBBON RICK ROSS B.G.’s CHOPPER CITY BOYZ YOUNG JEEZY’s USDA CAROL CITY & MORE CARTEL* RAPQUEST: THE* SCANDALOUS ULTIMATE RAP SIDEKICK ROADTRIP& HACKING MORE GUIDE * GANGSTA GRILLZ WISHLIST OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul MARKETING DIRECTOR // David Muhammad LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Destine Cajuste ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Alexander Cannon, Bogan, Carlton Wade, Charlamagne the God, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica INTERVIEWS Koslow, J Lash, Jason Cordes, Jo Jo, Joey Columbo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, Kenneth Brewer, K.G. -
Wenders Has Had Monumental Influence on Cinema
“WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film. -
Introduction 1 Mimesis and Film Languages
Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market). -
Table of Contents
Table of Contents Original Papers: Multiple Perspectives on Cognitive Development: Radical Constructivism, Cognitive Constructivism, Sociocultural Theory, and Critical Theory Meir Muller, College of Education, University of South Carolina Kelley Buchheister, College of Education and Human Sciences, University of Nebraska-Lincoln Gloria Boutte, College of Education, University of South Carolina Comparing Constructivist Learning Assignments in Research Methods Classes Joseph A. Mayo, Department of Psychology, Gordon State College Co-Teaching Special Education Credential Candidates about Reliability and Validity in a Blended Classroom: A Promising Instructional Practice aBout Natural Variation and Error Ben Seipel & Steven Koch, School of Education, California State University, Chico Teaching Pre-Service Teachers about Close Reading through Constructivist Practices Susan M. Landt, Department of Education, St. Norbert College Constructing Historical Understandings through Creative Writing Susan K. Barnes, Early, Elementary, and Reading Department, James Madison University Fostering Curiosity and Imagination: Creative Arts in Constructivist Classrooms Joanne Lanciotti Emery, English and Language Arts Coordinator, Kent Place School Special Feature: An Interview with Eleanor Duckworth Editor: Carolyn Hildebrandt, Department of Psychology, University of Northern Iowa Consulting Editors: Jacqueline Grennon Brooks, Department of Technology and Society, Stony Brook University Kathryn Castle, School of Teaching & Curriculum, Oklahoma State University -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background