Journal of Screenwriting最新文献_第10页

How to Write for Moving Pictures: A Manual of Instruction and Information, Marguerite Bertsch (1917) 《如何为电影写作:指导和信息手册》，玛格丽特·伯奇(1917)

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00043_5

D. Barley

引用次数: 0

‘Polite, no chill’ for the win: How Emily Andras engaged fans and overcame problematic tropes in Wynonna Earp 获胜“礼貌，不寒而栗”：艾米丽·安德拉斯如何吸引粉丝，并在《薇诺娜·厄普》中克服有问题的比喻

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00038_1

Tanya N. Cook

{"title":"‘Polite, no chill’ for the win: How Emily Andras engaged fans and overcame problematic tropes in Wynonna Earp","authors":"Tanya N. Cook","doi":"10.1386/josc_00038_1","DOIUrl":"https://doi.org/10.1386/josc_00038_1","url":null,"abstract":"Like other successful genre shows, Wynonna Earp features a strong female lead character. Wynonna, however, is so much more than a ‘girl with a big ass gun’. In this case study of Emily Andras, I explore how women-centred writing and Andras’s engagement with fans, transformed Wynonna Earp from an overly sexualized comic book character, to a feminist icon, layered with nuance and breaking gender norms faster than revenants can make their peace. Andras’s leadership, her inclusion of LGBTQIA representation and refusal to succumb to the ‘bury your gays’ trope, also helped amass a passionate, loyal fan base that successfully lobbied producers for a fourth season after the show faced cancellation. The success of Wynonna Earp and the ‘Fight for Wynonna’, bolsters the legitimacy of women-led genre shows, women showrunners and producers, and the largely women-identified fan base, who have long loved science fiction, but have not felt accurately represented in male-centric products. Through qualitative analysis of interviews with Andras and Wynonna Earp fans, this article shows how Andras’s voice as screenwriter, leadership as showrunner, and engagement with fans on social media, demonstrates respect for fans as active and valued media partners, rather than market to be exploited.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45407488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nobody’s Girl Friday: The Women Who Ran Hollywood, J. E. Smyth (2018) 《无人之女星期五:主宰好莱坞的女人》，j·e·史密斯(2018)

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00042_5

Toni Hull

引用次数: 0

Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise? 谁是《奈里亚》(1992)的作者?它是津巴布韦的杰作还是新殖民主义的杰作?

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00034_1

A. Piotrowska

{"title":"Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise?","authors":"A. Piotrowska","doi":"10.1386/josc_00034_1","DOIUrl":"https://doi.org/10.1386/josc_00034_1","url":null,"abstract":"This article focuses on the Zimbabwean film Neria (1992), arguably one of the most important films in the history of sub-Saharan Africa. Directed by the Black Zimbabwean Godwin Mawuru, it was the first feminist film in Zimbabwe and in the region, highlighting the plight of women who become the property of their brothers-in-law after their husbands die. The article addresses the issues of the origins of the story and the authorship of the screenplay. On the final reel of the film, the story credit names the accomplished Zimbabwean female novelist, Tsitsi Dangarembga; while the screenplay credit names Louise Riber. Riber served as the film’s White American editor and co-producer who, with her husband John Riber, managed the Media for Development Fund in Zimbabwe. The key question of this article is simple: who wrote the screenplay for Neria? Through the physical and metaphorical journey of this research, we discover that the story is based on the personal experiences of Anna Mawuru, the director’s mother. This is the first time that this fact has surfaced. As such, this article also offers some reflections on issues of adaption/translation, particularly in the context of postcolonial collaborations.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage 拉丁美洲编剧Lucrecia Martel（阿根廷）、Anna Muylaert（巴西）和Claudia Llosa（秘鲁）的剧本是如何在世界舞台上留下印记的

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00037_1

M. McVeigh, C. Miranda

{"title":"How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage","authors":"M. McVeigh, C. Miranda","doi":"10.1386/josc_00037_1","DOIUrl":"https://doi.org/10.1386/josc_00037_1","url":null,"abstract":"The films of Latin American female screenwriters, Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru), have achieved international prominence in recent years. In this article we create new insights into the ways in which these screenwriters have developed scripts for films that have made a mark on the world stage. To this end we will investigate how this acclaim has been enabled by their screenwriting decisions which focus on the creation of women-centred films, as well as their use of the family story as a means of exploring contemporary social and political themes, to tell universal stories that highlight the global in the local. In doing so we canvas the personal, industrial and social factors which have impacted Martel, Muylaert and Llosa’s screenwriting careers which have been instrumental in the script development of the films: La Ciénaga (The Swamp) (Martel 2001); Que Horas Ela Volta? (The Second Mother) (Muylaert 2015); and La Teta Asustada (The Milk of Sorrow) (Llosa 2009). The research for this article is based on personal and media interviews with the writers, as well as contemporary information available only in Spanish and Portuguese, as translated from the original Spanish and Portuguese by Clarissa Miranda.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43316720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Editorial introduction 编辑简介

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00031_2

R. Ferrell, Rosanne Welch

引用次数: 0

Anita Loos Rediscovered: Film Treatments and Fiction, Cari Beauchamp and Mary Anita Loos (eds) (2003) 《安妮塔·洛斯的再发现：电影处理与小说》，Cari Beauchamp和Mary Anita Loos（编辑）（2003）

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00040_5

C. Winkler

引用次数: 0

Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China 唐成：中华人民共和国首位女性动画编剧、导演

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00032_1

Shaopeng Chen

引用次数: 0

Battle of the sketches: Short form and feminism in the comedy mode 小品之战:喜剧模式下的短篇形式和女权主义

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00039_1

Stayci Taylor

{"title":"Battle of the sketches: Short form and feminism in the comedy mode","authors":"Stayci Taylor","doi":"10.1386/josc_00039_1","DOIUrl":"https://doi.org/10.1386/josc_00039_1","url":null,"abstract":"The screenwriting of sketch comedy and, in particular, how female writers of sketch comedy engage with this form to illuminate female experience, are topics not yet widely theorized. This article reviews the scholarship, in order to bring together histories, definitions and distribution of sketch comedy from which to investigate how this form of comedy screenwriting can contribute to feminisms that ‘engage openly and playfully with humor and irony as weapons of choice’ (Willet et al. 2012). Drawing on anecdotal accounts and available archives from A Black Lady Sketch Show (2019–present), French and Saunders (1987–present), Inside Amy Schumer (2013–present), Wood & Walters (1981–82) and others, this article considers these against the theories of writing sketch comedy to draw some conclusions on how this short form, combined with its most popular form of distribution, can accommodate multiple perspectives and serve their audiences. This article offers itself as a starting point in identifying the unique challenges and strategies for women writing sketch comedy, and the possibilities offered by the form more broadly, while highlighting the need for further empirical exploration of the creative practice of female sketch comedy writers, and further critical attention to short form comedy screenwriting.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47581615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Hakawati’s Daughter: How the Syrian revolution inspired a rewrite 哈卡瓦蒂人的女儿:叙利亚革命如何激发了改写

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2020-09-01 DOI: 10.1386/josc_00035_1

Rana Kazkaz

引用次数: 0