A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often
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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. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
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. -
Rewriting Aristotle: the Uses and Misuses of the Poetics in the Teaching and Practice of Screenwriting
Rewriting Aristotle: the Uses and Misuses of the Poetics in the Teaching and Practice of Screenwriting Brian Dunnigan, Head of Screenwriting, London Film School October 2014 “ All human beings by nature desire knowledge.” Aristotle (Metaphysics) “ Tragedy is essentially an imitation not of persons but of action and of life.” Aristotle (Poetics) “The film language is the most elaborate, the most secret and the most invisible. A good script is a script that you don’t notice. It has vanished. Being a screenwriter is not the last step of a literary adventure but the first step of a film adventure…therefore a screenwriter must know everything about the techniques of how to make a film.” Jean-Claude Carrière I read with interest that amongst the early aims of the Screenwriting Research Network is that of “ interpreting documents intended to describe the screen idea” and a study of “ the interaction of those agents concerned with constructing the screenwork.” We are presumably referring here to the screenplay and the screenwriters and filmmakers working toward the creation of a film. The lively, anxious, imaginative humans who struggle to express themselves in conversation and debate, to shape a meaningful narrative for an audience. As an educator involved with curious and often confused humans trying to understand what it is they have to say about the world - I find that description of theoretical practice misses too much of what excites me about storytelling and cinema. This is partly language and partly to do with how as a writer and teacher one prefers to think about the process of filmmaking. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Under the Influence of Satire Introduction
DeMattio 1 Under the Influence of Satire By: Ashley DeMattio Introduction This thesis compares and contrasts the two plays, Lysistrata by Aristophanes and Mrs. Warren’s Profession by George Bernard Shaw, based on their political agendas through the literary form of satire; they are greatly influenced by the time period in which they lived, and express themselves through the female characters in their plays. Insight and further understanding of each play will be provided, and it will be demonstrated how the authors had a goal of starting specific conversations amongst their audiences. Though these conversations differ, Aristophanes and Shaw demonstrate the ability to politically and intellectually enlighten their audiences through pleasure. Aristophanes was a native of Greece during the first century B.C.E., and witnessed the cruel occurrences of the Peloponnesian War and the challenge to Greece’s political stability. In his play Lysistrata he took the idea of war and molded it into a battle of the sexes. The main idea of the play is that the women of Greece, both Athenians and Spartans, are seeking to end the war, and in order to do so they hold a sex strike. The sex strike is used as a way to intrigue the audience through humor and risqué references; the use of satire is amplified when he uses women as the dominant characters. The women hold the power in the play, and this makes the Athenian audience uneasy. This uneasiness is what Aristophanes wants to accomplish, and he puts the audience in a vulnerable state. Lysistrata is meant to warn the people of Greece; what he is warning against and how he goes about it will be further understood when the play is examined. -
Willing Suspension of Disbelief? a Study of the Role of Volition in the Experience of Delving Into a Story
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/298068504 Willing Suspension of Disbelief? A study of the role of volition in the experience of delving into a story Research · March 2016 DOI: 10.13140/RG.2.1.1046.1843 CITATIONS READS 0 4,182 1 author: Itai Leigh Hebrew University of Jerusalem 1 PUBLICATION 0 CITATIONS SEE PROFILE All content following this page was uploaded by Itai Leigh on 13 March 2016. The user has requested enhancement of the downloaded file. 30/09/2015 Contextualizing Paper for MA Practical Project module MA Acting (International) (EA606-G-SU) East15 Acting School Itai Leigh (PG 145747) Monologue Tutor: Zois Pigadas University of Essex Head of Course: Robin Sneller Willing Suspension of Disbelief? A study of the role of volition in the experience of delving into a story “The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled.” — The Prestige, Director Christopher Nolan, 2006 In this paper I present several angles, trying to understand the degree and the nature of will that takes place in the suspension of disbelief, or in immersion into a narrative we receive. I believe an understanding of the nature of the phenomenon can be, apart from intellectually interesting, doubly beneficial for actors. On one hand it is clearly desirable to have the power to modify the extent to which an audience would tend to get rapt or lost in a project we are creating (whether to elevate it for a more emotional reaction, or reduce it to allow more intellectual deliberation about its themes). -
Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name
Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name: ENGL049 - Accelerated Reading and RDNG 116 - College Reading and Study Skills Student may need to Writing Skills for ENGL100 OR take the following ENGL098 - Accelerated Writing Skills for MATH 090 - Pre-Algebra courses: ENGL100 MATH 095 - Beginning Algebra Grade Earned Semester Course Requirement Course Title Credits Min. Grade T - Transfer Completed FIRST YEAR FALL ENGL 100 Academic Writing I 1 3 C ENGL 135 OR Short Narrative Film Writing OR ENGL 261 Visiting Writer Series 1 Liberal Arts Elective 3 SUNY GEN ED Mathematics Elective 3 SUNY GEN ED Social Sciences Elective 3 Unrestricted Elective 2 3 Total Credits 16 SPRING ENGL 101 Academic Writing II 3 3 ENGL 102 Approaches to Literature 3 3 ENGL 200 Screenwriting 3 ENGL 233 Film Analysis 3 SUNY GEN ED Science Elective 4 3 Total Credits 15 SECOND YEAR FALL ENGL 201 OR Public Speaking OR 3 ENGL 204 Interpersonal Communication ENGL 216 Advanced Screenwriting 3 ENGL 256 Playwriting or ENGL Elective 3 ENGL 274 Marketing the Screenplay 1 SUNY GEN ED Foreign Language Sequence Elective 5 3 Unrestricted Elective 6 3 Total Credits 16 SPRING ENGL 237 OR Journalism OR ENGL 258 Creative Nonfiction 3 ENGL 255 Writing Television Drama & Comedy 3 5 SUNY GEN ED Foreign Language Sequence Elective 3 SUNY GEN ED Restricted Elective 7 3 Unrestricted Elective 6 3 Total Credits 15 Minimum Credits Required for Graduation: 62 1 A C or better grade is required in ENGL 100. A student exempted from ENGL 100 must substitute a three credit liberal arts elective. -
Measuring the Audience: Why It Matters to Independent News Media and How It Can Contribute to Media Development
Measuring the Audience: Why It Matters to Independent News Media and How It Can Contribute to Media Development BY MICHELLE J. FOSTER October 2014 Measuring the Audience: Why It Matters to Independent News Media and How It Can Contribute to Media Development ABOUT CIMA OCTOBER 2014 The Center for International Media Assistance (CIMA), at the National Endowment for Democracy, CONTENTS works to strengthen the support, raise the visibility, and improve the effectiveness of independent Introduction . 1 media development throughout the world . The center provides information, builds networks, The Exposure Model of Audience Research . 3 conducts research, and highlights the indispensable Audience Data Move Directly into the Ad Buying Process . 5 role independent media play in the creation and development of sustainable democracies . An Business Development . 9 important aspect of CIMA’s work is to research ways Audience Development . 13 to attract additional U .S . private sector interest in and support for international media development . Informing and Evaluating Media Development Efforts . 15 CIMA convenes working groups, discussions, and Limits to Audience Research Tool panels on a variety of topics in the field of media for Media Development . 18 development and assistance . The center also issues Conclusions and Recommendations . 19 reports and recommendations based on working group discussions and other investigations . These Endnotes . 21 reports aim to provide policymakers, as well as donors and practitioners, with ideas for bolstering the effectiveness of media assistance . Center for International Media Assistance ABOUT THE AUTHOR National Endowment for Democracy Michelle Foster consults and works with media 1025 F STREET, N W. ., 8TH FLOOR companies to develop strong management practices WASHINGTON, DC 20004 and business models . -
Writing and Genres
1chapter Writing and Genres In this chapter, you will learn how to— 1.1 describe what genres are and how they help writers and readers communicate. 1.2 use genres to communicate with readers. 1.3 develop a writing process that will help you write efficiently and effectively. 1.4 use “genre know-how” to become a versatile writer in college and in the workplace. riting gives you the power to get things done with words and images. It allows W you to respond successfully to the people and events around you, whether you are trying to strengthen your community, pitch a new idea at work, or just text with your friends. The emergence of new writing situations—new places for writing, new readers, and new media—means writing today involves more than just getting words and images onto a page or screen. Writers need to handle a wide variety of situations with diverse groups of people and rapidly changing technologies. Learning to navigate among these complex situations is the real challenge of writing in today’s world. What Are Genres? In this book, you will learn how to use genres to interpret complex situations and 1.1 describe respond to them successfully. Defining the word genre is difficult. Sometimes, genres what genres are are defined by their structure alone (e.g., “A report has five parts: introduction, meth- and how they help writers ods, results, discussion, and conclusion”). But this understanding of genre is too sim- and readers plistic. Genres are not fixed or rigid patterns to be followed mechanically.