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Of!The!Screenplay! ! ! ! ! ! Caroline)Suzanne)Verner

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Of!The!Screenplay! ! ! ! ! ! Caroline)Suzanne)Verner ! ! ! ! ! ! ! SMASHED!TYPEWRITERS!AND!SOUR!SMOKE:! A!HISTORICAL!POETICS!OF!THE!SCREENPLAY! ! ! ! ! ! CAROLINE)SUZANNE)VERNER) ) ) ) ) A)DISSERTATION)SUBMITTED)TO)THE)FACULTY)OF)GRADUATE)STUDIES) IN)PARTIAL)FULFILLMENT)OF)THE)REQUIREMENTS)OF)THE)DEGREE)OF) DOCTOR)OF)PHILOSOPHY) ) ) ) ) GRADUATE)PROGRAM)IN)CINEMA)AND)MEDIA)STUDIES) YORK)UNIVERSITY) TORONTO,)ONTARIO) ) ) ) ) SEPTEMBER)2017) ) ) ) ) ©)CAROLINE)SUZANNE)VERNER,)2017) ) ))))))))))) ) ) ! iv ABSTRACT ) Screenplays)typically)provide)the)starting)point)for)film)development)and)production.)) They)also)draw)on)a)rich)history)of)literary)conventions)and)aesthetic)traditions)that)well) exceed)their)technical)“blueprint”)function,)as)emergent)attention)being)given)to) screenplays)as)reading)matter)by)both)casual)and)scholarly)readers)suggests.)This) dissertation)proposes)a)historical)poetics)of)screenwriting)as)a)way)of)working)through) these)conflicting)ideas)about)the)screenplay:)what)it)is,)how)to)read)it,)and)how)these) concepts)have)evolved)over)time.)It)pursues)an)intensive)analysis—from)the)silent)era) scenario)to)the)present`day)master`scene)script—through)several)frames,)including)the) historical)implications)of)discourse)for)the)screenplay)concept,)the)linkages)between) screenwriting)and)earlier)forms)of)lens`based)prose,)narrative)voice)and)the)rhetoric)of)the) possible)performance,)and)the)“closet”,)made`to`read)screenplay)as)a)class)of)literary) fiction.)Engaging)theoretical)traditions)of)narratology,)authorship,)and)adaptation)studies,) the)research)illuminates)how)to)read)a)screenplay)aesthetically,)invoking)the)fictional) blueprint)metaphor)as)a)new)interpretive)strategy)that)views)the)script)as)independent)and) complete,)outside)any)actual)production)reality.)) ii) ACKNOWLEDGEMENTS I)whole`heartedly)thank)my)supervisor,)Dr)Temenuga)Trifonova,)for)her)immeasurable) feedback)and)unwavering)support)on)this)project.)I)also)express)my)sincere)appreciation)to) Dr)Michael)Zryd,)the)eternally)patient)and)kind)editor)without)whom)this)process)would) have)been)a)far)lonelier)undertaking,)and)convey)my)gratitude)to)Amnon)Buchbinder,) whose)classroom)always)gave)rise)to)energetic)exchanges)about)screenwriting.) ) This)dissertation)is)dedicated)to)my)husband,)Tom,)who)sustains)me)with)his)love,) encouragement,)and)world`famous)potato)hash.) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) iii) ! CONTENTS ! ! ! Abstract)) ) ) ) ) ii) Acknowledgements) ) iii) ) ) Introduction:)The!Screenplayers) ) ) ) ) 1! $$$$ Screenplay$studies$at$a$glance$ 5) Researching$the$screenplay:$Method$ 9) Chapter$overview$ 12) ) Chapter 1:)“The!most!orDinary!worD…”!(A!PunctuateD!History!of! ) “Screenplay”!as!Discourse)) 17! $ On$appreciative$practices$ 22) $ $ Autonomy) 22) ) ) Literariness) 27) $ On$specificity$ 32) ) ! Film)art) 32) ) ) Film)purity) 42) $ On$conception$and$execution$ 46) ! $ Scripting) 46) ) ) The)genesis)myth) 49) $ New$analogies$$ $ 54) ) Chapter 2:!The!word,!the!lens,!and!the!cinematic!effect) 56) ) Vertov’s$“filmAeye”$practice$as$screenplay$poetics$ 59) $ Adaptation$and$the$materiality$of$the$image$ 64) $ Victorian$fiction$and$the$projected$lens$ 70) $ CineApoetry$and$the$rhetorically$based$montage$ 77) The$cameraAeye,$the$hieroglyph,$and$the$birth$of$screenplay$studies$ 86) $ Modernism$and$the$“screenplay$effect”$ 98) ) Chapter 3:)The!rhetoric!of!narrative!in!the!screenplay! 100) Narrativity$and$the$screenplay 105) ) The$screenplay’s$narrator$ 112) $ $ The)imperative)voice) 117) ) ) First`person)plural) 118) ) ) The)camera`narrator) 120) ) ) Free)indirect)speech) 121) $ The$screenplay’s$implied$author$ 124) $ $ The)motivated)camera) 128) ) ) The)anthropomorphic)camera) 131) ) ) The)point`of`view)camera) 133) Temporality$and$tense$ $ 136) $ Fictionality$and$the$possible$film$ 141) ) 6) iv) ) ) Chapter 4:)“There!is!no!film.”!On!screenplaysVasVliterature! )144! $ The$closet,$the$screen,$and$the$classroom$ 154) ) The$Proust$Screenplay$ 156) $ Edna$ 163) $ One$Day$When$I$Was$Lost$ 172) $ Ape$and$Essence$ 180) $ ) Conclusion:!The!reality!of!screenplay!fiction) 188) Findings$ 189) $ Future$implications$ $ 202) $ ) Works)Cited) ) ) ) ) 204 $ ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) Fil) ) ) ) ) ) ) v) ) ! ! ! INTRODUCTION: THE SCREENPLAYERS ! ) ) There)is)a)noteworthy)scene)from)Michael)Tolkin’s)script)for)The$Player$(1988),)based)on) Tolkin’s)novel)about)Griffin)Mill,)a)movie)executive)receiving)death)threats)from)a) disgruntled)writer.)At)a)producer’s)meeting,)a)colleague)of)Mill’s)named)Larry)Levy) proposes)that)the)studio)start)cutting)back)work)for)screenwriters)by)crafting)its)own) pitches)ripped)from)headline)stories.)He)hands)a)newspaper)to)Marty)Grossman,)vice` president)of)marketing:) ) Marty: Larry, this really isn’t my field. Levy: Marty, come on, just give it a shot, you can’t lose here. Marty: How about… “Mud Slide Kills Sixty-four in Slums of Chile”? Levy: That’s good. Triumph over tragedy. Sounds like a John Boorman picture. Slap a happy ending on it, the script will write itself.1) ) ) ) If)there)is)a)lesson)that)screenplay)studies)can)take)from)the)Hollywood)novel)(a)form)that) American)literary)critic)Leslie)Fiedler)once)christened)“the)great)literary)invention)of)the) Thirties”),)it)is)that)screenwriters)are)finicky,)expendable)creatures)whose)contributions)to) the)art)of)cinema)are)tenuous)at)best.2)Attacking)the)studio)writer’s)worth)and)moral)fabric) is)a)common)trope—we)come)across)it)in)the)corrupted)figure)of)screenwriter)Claude) Estee,)the)undeserving)little)man)with)more)wealth)than)taste)in)Nathanael)West’s)The$Day$ of$the$Locust)(1939);)in)F.)Scott)Fitzgerald’s)The$Last$Tycoon)(1941),)which)pits)a)striving) 1)Michael)Tolkin,)The$Player,$The$Rapture,$The$New$Age:$Three$Screenplays$(New)York:)Grove)Press,)1995),)40.) 2)Leslie)Fiedler,)“The)End)of)the)Thirties:)Artificial)Paradises)and)Real)Hells”)in)Waiting$for$the$End)(New)York:) Stein)and)Day,)1964),)56.) 1) young)production)chief,)boy`wonder)Monroe)Stahr,)against)his)herd)of)underling)writers;) in)Evelyn)Waugh’s)The$Loved$One)(1948),)which)follows)Sir)Francis)Hinsley,)once)an) acclaimed)novelist,)as)he)gets)demoted)as)chief)scriptwriter)at)Megalopolitan)Pictures)and) subsequently)hangs)himself;)in)Budd)Schulberg’s)What$Makes$Sammy$Run?$(1941),)about)a) copyboy,)Sammy)Glick,)who)claws)his)way)to)the)top)of)the)screenwriting)profession)by) backstabbing)others.)) ) Screenwriters,)as)these)quirky)L.A.)stories)depict)them,)are)ambivalent)characters,) simultaneously)vital)to)and)disempowered)by)the)industry)which)gives)rise)to)their)kind.) Over)time,)the)writer’s)indeterminate)and)questionable)role)in)the)art`making)process) comes)to)be)reflected)in)the)critical)ambivalence)that)persists)toward)the)screenplay.)Film) historian)Marc)Norman)documents)this)trend)in)What$Happens$Next?:$A$History$of$ Hollywood$Screenwriting)(2007),)where)he)affirms)that)studio)era)producers)saw)writers)as) “the)Other)of)the)movie)business,”)nothing)more)than)“skilled)specialists,)typecastable,) comedy,)action,)historical)writers)and)even)finer)distinctions,)young`girls`in`love)writers,) bad`guy)writers,)writers)of)goofy)best)friends,)the)equivalent)of)overcalled)line)workers,)this) one)good)at)fenders,)that)with)windshields.”3)Tom)Stempel,)another)influential)voice)in)the) field)of)screenwriting)history,)shines)a)spotlight)on)the)1930s)migration)of)intellectual)East) Coast)writers)to)Hollywood)in)FrameWork)(2000).)The)book)defends)his)claim)that)for) those)who)considered)writing)for)film)to)be)a)form)of)literary)slumming,)the)movies)offered) “critical)anonymity”)even)if)“such)anonymity)had)its)price,)since)it)went)hand)in)hand)with) the)alienation)the)screenwriters)felt)from)the)product)they)were)creating.”4)In)Script$Girls) (1994),)one)more)compendium)of)the)professional)hazards)for)screenwriters)(favouring)this) 3)Marc)Norman,)What$Happens$Next?:$A$History$of$Hollywood$Screenwriting)(New)York:)Three)Rivers)Press,)2007),) 99;)137.) 4)Tom)Stempel,)FrameWork:$A$History$of$Screenwriting$in$the$American$Film)(Syracuse:)Syracuse)University)Press,) 2000),)64.)) 2) time)the)woman’s)perspective),)Lizzie)Francke)underscores)the)career)of)famed)female) scenarist)Frances)Marion)who,)woefully,)had)come)to)accept)that)studio)writers)held)no) power)over)their)creative)process)or)its)results.)The)collaborative)and)industrial)nature)of) Hollywood)filmmaking)had)bred)an)environment)where)screenwriting)was,)in)Marion’s) words,)“like)writing)on)sand)with)the)wind)blowing.”5)) ) It)was)precisely)these)conditions)of)composition)that)moved)Samuel)Goldwyn)to)form) Eminent)Authors)inc.)in)1919,)a)select)group)of)“serious”)writers)(which)included)novelist) Rex)Beach)and)playwrights)Charles)Kenyon,)Elmer)Rice)and)Thomas)Buchanan))who)sold) their)stories)exclusively)to)Goldwyn,)to)guarantee)that)“all)Goldwyn)pictures)are)built)upon) a)strong)foundation)of)intelligence)and)refinement.”6)The)experiment)flopped,)however,) because,)more)than)likely,)these)eminent)authors)struggled)with)integrating)a)filmic) viewpoint)in)their)writing.)Whatever)the)actual)circumstances,)this)was)further)proof)in)the) eyes)of)studio)executives)that)screenwriting)was)a)honed)skill,)not)a)given)talent.) Hollywood’s)mode)of)production)may)have)inadvertently)yielded)a)new)literary)strain)in) the)genre)of)the)screenplay,)but)its)origins)as)a)rigid)form)of)creative)labour,)with) unapologetically)commercial)ambitions,)would)persuade)critics)to)paint)it)as)un`artistic) and)non`literary)for)many)more)decades)to)come.7)For)a)variety)of)reasons)explored)over) the)course)of)subsequent)chapters,)the)film)script)has)yet)to)fully)materialize)as)an)
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