A COMPREHENSIVE GUIDE to FORMATTING Shore Scripts Presents
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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. -
COM 320, History of the Moving Image–The Origins of Editing Styles And
COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
ORANGE IS the NEW BLACK PILOT Written By: Jenji Kohan
ORANGE IS THE NEW BLACK PILOT Written by: Jenji Kohan Based on the Memoir by Piper Kerman Writer's first 5/22/12 BATHING MONTAGE: We cycle through a series of scenes with voice overs. Underneath the dialogue, one song plays throughout. Perhaps it’s ‘Tell Me Something Good,’ by Rufus and Chaka Khan or something better or cheaper or both that the music supervisor finds for us. INT. CONNECTICUT KITCHEN - DAY - 1979 A beautiful, fat, blonde baby burbles and splashes in a kitchen sink. A maternal hand pulls out the sprayer and gently showers the baby who squeals with joy. PIPER (V.O.) I’ve always loved getting clean. CUT TO: INT. TRADITIONAL BATHROOM - 1984 Five year old Piper plays in a bathtub surrounded by toys. PIPER (V.O.) Water is my friend. CUT TO: INT. GIRLY BATHROOM - 1989 Ten year old Piper lathers up and sings her heart out into a shampoo bottle. PIPER (V.O.) I love baths. I love showers. CUT TO: INT. DORM BATHROOM - 1997 Seventeen year old Piper showers with a cute guy. PIPER (V.O.) I love the smell of soaps and salts. CUT TO: INT. LOFT BATHROOM - 1999 Twenty year old Piper showers with a woman. (ALEX) ORANGE IS THE NEW BLACK "Pilot" JENJI DRAFT 2. PIPER (V.O.) I love to lather. CUT TO: INT. DAY SPA - 2004 Piper sits in a jacuzzi with girlfriends. PIPER (V.O.) I love to soak. CUT TO: INT. APARTMENT - 2010 Piper in a clawfoot tub in a brownstone in Brooklyn with LARRY. PIPER (V.O.) It’s my happy place. -
Writers Professional Materials
Writers Professional Working Materials INTRODUCTION Writers professional working materials and the tools of the trade – they are considered the sales tools for a writer’s work. These will be the most utilised materials when trying to establish yourself as a scriptwriter as either writer-for-hire work or when pitching your own original idea. No Producer or Production Company (locally or internationally) will ever read a script, treatment, logline or synopsis – unless a pre-existing relationship is in place – unsolicited. This means writers first need to be invited to send through materials in the manner that best suits that Producer or Production Companies. This helps to protect copyright or a copyright claim for both parties. It is also important to note that in international territories only Agents are able to introduce writers to Producers and Production Companies. Below each header you will find links to helpful sites and further information. As a screenwriter your job is to write, research, write, learn, write, and adapt. Google is your friend and before you ask Facebook for the answer, ask Google! Or check out the NZWG website for information on knowing your rights, contracting, useful facts and upcoming events. Before going any further, the below link is a must read for newcomers and is aimed at people applying for early development funding. It’s put together by Screen Australia, and is a very basic ‘How To Guide’ for feature filmmakers on application materials included in their application process – logline, synopsis & treatment. https://www.screenaustralia.gov.au/getmedia/ae5708a4-05d9-4db0-b5fb-4f999fdfed57/What-is-a- synopsis.pdf Below are all the materials broken into parts, starting with how to format your works. -
LOGLINE January / February 2020 Volume 13: Number 1 the Screenwriter’S Ezine
LOGLINE January / February 2020 Volume 13: Number 1 The Screenwriter’s eZine Published by: Letter From the Editor The PAGE International Screenwriting Awards It’s a new year and a new day for screenwriters around the 7190 W. Sunset Blvd. #610 Hollywood, CA 90046 world! Here at PAGE HQ we hope you had a wonderful holiday www.pageawards.com season, feel recharged, and are ready to take the next step in your writing career. In this issue: One way to potentially make a major breakthrough: the 2020 LO PAGE Awards contest. Our Early Entry Deadline is now just 1 Latest News From two weeks away – Monday, January 20 – and with our low the PAGE Awards Early Entry Discount rates, now is the very best time to get your script in the running for one of this year’s awards. Many past PAGE Award winners have optioned and sold their scripts, been signed 2 The Writer’s by Hollywood representatives, and built highly successful careers in the industry. Perspective You could be next! Is It Ever “Too Late” to Chase Your Dream? As we begin lucky Volume 13 of the bimonthly LOGLINE eZine, we welcome new Erin Muroski readers to the publication designed to share industry intel and advice with all writers. First, 2019 PAGE Award winner Erin Muroski reflects on her rush to find success, and how she got over it. PAGE Judge Genie Joseph introduces us to three prevailing story 3 The Judge’s P.O.V. styles that inform a film from page to screen. Script consultant Ray Morton strikes a Three Styles of Story: balance between art and commerce and Dr. -
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. -
Wide Shot (Or Establishing Shot) Medium Shot Close-Up Extreme
Definitions: Wide Shot (or Establishing Shot) Medium Shot Close-up Extreme Close-up Pan –Right or left movement of the camera Tilt –Up or down movement of the camera Zoom –Change in focal length (magnification) of the lens V/O –Voice-over, narration not synchronized with video SOT –Sound on Tape, Interview audio synchronized with video B-Roll -Refers to the earlier days of film when you had two rolls of film – A and B – and you had to edit them together. A-roll is the main subject of your shot, with audio such as an interview with someone or SOT (Sound on Tape synchronized with the video). B-roll is the background video for your film, often just video over which you’ll lay an audio track (such as the person talking in the A-roll). Nat Sound (Wild Sound) –Natural sound recorded with B-Roll This is video that has some natural background noise – traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video tape. 2-Shot –Shot of the interview subject and the person asking the questions Reverse Angle –Straight-on shot of the person asking the questions Use a Tripod Use a tripod to get a steady shot, particularly if you’re shooting something that is not moving or a formal interview. Shaky video, especially in close-ups, can cause the viewer to become dizzy, even nauseous. If you don’t have a tripod or you’re doing a shot where you’ll have to move quickly, then find something to steady your camera – i.e. -
2.3 Flash-Forward: the Future Is Now
2.3 Flash-Forward: The Future is Now BY PATRICIA PISTERS 1. The Death of the Image is Behind Us Starting with the observation that “a certain idea of fate and a certain idea of the image are tied up in the apocalyptic discourse of today’s cultural climate,” Jacques Rancière investigates the possibilities of “imageness,” or the future of the image that can be an alternative to the often-heard complaint in contemporary culture that there is nothing but images, and that therefore images are devoid of content or meaning (1). This discourse is particularly strong in discussions on the fate of cinema in the digital age, where it is commonly argued that the cinematographic image has died either because image culture has become saturated with interactive images, as Peter Greenaway argues on countless occasions, or because the digital has undermined the ontological photographic power of the image but that film has a virtual afterlife as either information or art (Rodowick 143). Looking for the artistic power of the image, Rancière offers in his own way an alternative to these claims of the “death of the image.” According to him, the end of the image is long behind us. It was announced in the modernist artistic discourses that took place between Symbolism and Constructivism between the 1880s and 1920s. Rancière argues that the modernist search for a pure image is now replaced by a kind of impure image regime typical for contemporary media culture. | 1 2.3 Flash-Forward: The Future is Now Rancière’s position is free from any technological determinism when he argues that there is no “mediatic” or “mediumistic” catastrophe (such as the loss of chemical imprinting at the arrival of the digital) that marks the end of the image (18). -
Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps.