{"title":"Inclusive Screenwriting for Film and Television, Jess King (2022)","authors":"Madison río de Estrellas","doi":"10.1386/josc_00125_5","DOIUrl":"https://doi.org/10.1386/josc_00125_5","url":null,"abstract":"Review of: Inclusive Screenwriting for Film and Television, Jess King (2022)\u0000 Abingdon: Routledge, 268 pp.,\u0000 ISBN 978-0-36777-218-5, p/bk, $34.36\u0000 ISBN 978-0-36777-220-8, h/bk, $136.00\u0000 ISBN 978-1-00317-031-0, e-book, $34.36","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46997004","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}
{"title":"Editorial","authors":"Craig Batty","doi":"10.1386/josc_00127_2","DOIUrl":"https://doi.org/10.1386/josc_00127_2","url":null,"abstract":"This abstract introduces the 14.2 issue of the Journal of Screenwriting. It recognizes the wide-ranging approaches to screenwriting research and the range of topics that are covered. It also refers to the large number of non-screenwriting peer reviewers who are now assessing articles for the journal. It then goes on to outline the issue’s contents.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41619950","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}
{"title":"Narrative structures in Colombian fictional web series published on YouTube","authors":"Diego F. Montoya-Bermúdez, María T. Soto-Sanfiel","doi":"10.1386/josc_00123_1","DOIUrl":"https://doi.org/10.1386/josc_00123_1","url":null,"abstract":"This research seeks to contribute to knowledge of the structural characteristics and narrative complexity that define the web series format. To do so, we look at the case of Colombia’s prolific web series production, undertaken by professional and amateur producers and promoted by institutional and educational programmes. This research analyses the structure of 26 productions (thirteen professional, thirteen amateur) using a mixed-methods approach and an exploratory-descriptive scope. It uses analytical tools created inspired by narratology. Specifically, it offers data that allow us to develop the definition of web series: characteristics of their plots, characters, aspects of narration (time, mood, voice) and forms of endings. The results indicate that Colombian web series mostly present traditional serialized narrative structures and plot simplicity. They have linear, chronological and elliptical narratives developed in the present tense. They also tend to tell a single narrative, albeit through different stories, and leave open endings. Finally, there are only slight differences in these aspects between the two types of producers. These results, based on a specific geographical and industrial context, contribute to knowledge of web series form and its relationship to conventional serialized fiction.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46773864","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}
{"title":"Discontinuous aesthetics as a result of collaborative screenwriting: A genetic approach to John Berger and Alain Tanner’s screenplays1","authors":"Alain Boillat","doi":"10.1386/josc_00120_1","DOIUrl":"https://doi.org/10.1386/josc_00120_1","url":null,"abstract":"This article examines, through the study of screenplay-related archive documents, the various manifestations of narrative, visual and sound discontinuity in three iconic New Swiss cinema movies directed by Alain Tanner: La Salamandre, Le Milieu du monde, and Jonas qui aura 25 ans en l’an 2000. According to its central hypothesis, the aesthetics of these movies are heavily influenced by the participation of art critic and novelist John Berger as a co-screenwriter, and in particular by the specific modes of writing in tandem developed by Tanner and Berger. The aim is twofold: first, to consider the ways Tanner’s production of a public discourse celebrating ‘auteur cinema’ and the importance of the mise en scène stage has downplayed Berger’s role in the conception of these films; second, to comment on the genesis of the screenplays for those three films by paying attention to the specific ways Berger’s contribution materialized, especially since the art critic’s preoccupations (notably those related to the representation of gender relations) are reflected in these texts. The genetic study of the screenplays, conducted thanks to the director’s personal archives deposited at the Swiss National Film Archive, allowed us also to measure the degree to which Tanner’s first fiction films, although seemingly improvised, were defined in a very precise manner already at the writing stage.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45419428","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}
{"title":"Arc analysis: Redefining character arcs for ‘constant’ characters","authors":"A. Mullins","doi":"10.1386/josc_00122_1","DOIUrl":"https://doi.org/10.1386/josc_00122_1","url":null,"abstract":"A frequent assumption made in Anglo-American screenwriting manuals asserts that in most, if not all, ‘successful’ screen stories, the protagonist goes through a significant emotional transformation, sometimes referred to as a ‘character arc’. However, many classic, highly profitable and critically acclaimed feature films centre on protagonists who are emotionally ‘constant’, in that they do not appear to emotionally transform. As a result, these otherwise successful narratives have either been omitted from analysis or their analysis has been distorted to fit the orthodox yet vaguely defined understanding of a character arc. In this article, I will outline a new model of character arcs called ‘Arc Analysis’ that, by taking account of both the ‘internal’ and ‘external’ worlds of the protagonist, has the capacity to accurately describe the arcs of emotionally ‘constant’ characters. I will demonstrate the Arc Analysis model using an analysis of Jaws (1975), a highly successful film that, I will argue, features a protagonist who does not emotionally transform and, as a result, is frequently misinterpreted. Furthermore, I will, using the key components of Arc Analysis, propose a new and more precise definition of a character arc.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48458001","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}
{"title":"Character composition: A new framework for TV serial drama characters","authors":"M. Ianniello","doi":"10.1386/josc_00121_1","DOIUrl":"https://doi.org/10.1386/josc_00121_1","url":null,"abstract":"From an industry and craft perspective, despite the many manuals and ‘how to’ guides, feature film paradigms (notably three- to five-act structures) and character arc frameworks (e.g., the hero’s journey) dominate the discussions of character development in serial TV drama. The work of structure-based industry writers, notably Christopher Booker, Christopher Vogler, Linda Aronson and Craig Batty, focuses on feature films and this article will connect their influential frameworks and analyses with the practice of serial TV drama screenwriting. While there are several key screenwriting manuals specifically for writing television, particularly Pamela Douglas’s Writing the TV Drama Series (2018) and John Yorke’s Into the Woods (2014), these texts only briefly investigate long-form character development, instead focusing on single episodes. Therefore, expanding these ideas and examining the practice of long-form serial drama screenwriting across multiple episodes and seasons is necessary. What this article will arrive at is a new framework for criticism and creative practice: character composition.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49311955","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}
{"title":"En Cas De Malheur, De Simenon A Autant-Lara (1956-1958): Essai De Genetique Scenaristique, Alain Boillat (2020)1","authors":"Ian W. Macdonald","doi":"10.1386/josc_00118_5","DOIUrl":"https://doi.org/10.1386/josc_00118_5","url":null,"abstract":"Review of: En Cas De Malheur, De Simenon A Autant-Lara (1956-1958): Essai De Genetique Scenaristique, Alain Boillat (2020)\u0000 Geneva: Droz, 376 pp.,\u0000 ISBN 978-2-60006-046-2, p/bk, €18.90","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46136223","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}
{"title":"The case for team-based learning in higher education scriptwriting programmes: A narrative literature review","authors":"Dee Hughes","doi":"10.1386/josc_00115_1","DOIUrl":"https://doi.org/10.1386/josc_00115_1","url":null,"abstract":"Team-based learning (TBL) is a collaborative learning method that has been successfully adopted across a number of disciplines since its inception in the early 1970s. This article provides an exploration as to how it has been implemented and why it has not been adopted by arts-based disciplines on quite the same scale as those of scientific, medical, engineering and business-related subjects. The findings indicate that the time required to design a TBL course is a major hindrance to adoption. Other factors such as students’ reluctance to engage with the unfamiliar, unsuitable working spaces; the lack of guidance as to how to design the integral problem-solving exercises; an institutional culture not open to adopting new working practices and limited empirical evidence of the impact of TBL in arts and creative disciplines such as scriptwriting are all reasons given as to why TBL has not crossed wholesale into the study of arts-based subjects. Students are changing and it is therefore imperative that as educators we investigate and discover new ways to teach scriptwriting and arts-based subjects that meet the needs of the requirements of future generations.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46321256","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}
{"title":"Bringing queerness to the surface: Truman Capote’s November 1971 screenplay adaptation of F. Scott Fitzgerald’s The Great Gatsby","authors":"Emily G. Furlich","doi":"10.1386/josc_00112_1","DOIUrl":"https://doi.org/10.1386/josc_00112_1","url":null,"abstract":"Truman Capote occupied a queer position as an openly gay man adapting F. Scott Fitzgerald’s The Great Gatsby for the screen in the homophobic Hollywood system of the early 1970s. In January 1972, Paramount Pictures rejected Capote’s Gatsby screenplay and dismissed him from the film entirely. In this study, I investigate a tenuous claim that has circulated for decades: that Capote was fired from the project because he wrote Nick Carraway and Jordan Baker as queer characters. I argue that Capote deployed what Alexander Doty calls ‘working-within-the-system tactics’ to suggest queerness that would be apparent to viewers accustomed to interpreting media outside of dominant codes dictated by heteronormative conventions, while also using what licence he had to incorporate more explicitly queer moments. This article contributes to research on Capote’s manuscript with a close reading of queerness in the text, and an account of the personal and professional struggles related to queer identity that Capote faced while developing the script.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43395902","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}
{"title":"The Country Boy: Investigating the Dennis Potter Archive, Forest of Dean, England","authors":"John R. Cook","doi":"10.1386/josc_00114_1","DOIUrl":"https://doi.org/10.1386/josc_00114_1","url":null,"abstract":"This article presents scholarship relating to work conducted in the Dennis Potter Archive, Dean Heritage Centre, Dean Museum Trust, England. It argues that the Dennis Potter Archive is a significant archive consisting of handwritten manuscripts and notebook drafts of virtually all of the work of famed writer Dennis Potter (1935–94), allowing us unique access to the engine room of his creativity. The article focuses on the ‘discovery’ of Potter works previously unknown and/or inaccessible, including completed drafts of unproduced television plays and unproduced film screenplays. It also sheds new light on the genesis of perhaps Potter’s most famous work, The Singing Detective (BBC TV 1986). It shows how this began as a ‘last’ television play, but that as it developed, Potter reached back to themes and preoccupations he first explored as a young man in an unpublished novel, written decades earlier. Marrying research in the archive with statements Potter gave about his work during his lifetime, the article uses accumulated Potter scholarship, together with manuscript critical analysis and dating, in order to piece together a clearer and fuller understanding of the working life of one of the most famous names in British television and film history.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66733909","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}