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Journal of Screenwriting最新文献

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Directory of World Cinema: Africa, Blandine Stefanson and Sheila Petty (eds) (2014) 世界电影目录:非洲，布兰丁·斯蒂芬森和希拉·佩蒂(编辑)(2014)
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-07-01 DOI: 10.1386/josc_00098_5
R. Ferrell
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引用次数: 0
The dramatization of the shepherd warrior in Christopher Marlowe’s Tamburlaine and the Jordanian drama Bedouin series Rās Ghlaiṣ (‘The head of Ghlaiṣ’) Christopher Marlowe的《Tamburlaine》和约旦戏剧贝都因人系列Rās ghlaiza(“ghlaiza的头”)中牧羊人战士的戏剧化
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-07-01 DOI: 10.1386/josc_00092_1
Hussein A. Alhawamdeh, Feras M. Alwaraydat
{"title":"The dramatization of the shepherd warrior in Christopher Marlowe’s Tamburlaine and the Jordanian drama Bedouin series Rās Ghlaiṣ (‘The head of Ghlaiṣ’)","authors":"Hussein A. Alhawamdeh, Feras M. Alwaraydat","doi":"10.1386/josc_00092_1","DOIUrl":"https://doi.org/10.1386/josc_00092_1","url":null,"abstract":"Parts 1 and 2 of the Arab Jordanian series Rās Ghlaiṣ (‘The head of Ghlaiṣ’) (2006–08), written by Jordanian screenwriter Muṣṭafā Ṣāliḥ and directed by Aḥmad D‘aibis and Sha‘lān al-Dabbās, share three ‘common denominators’, in Haun Saussy’s terminology, with Christopher Marlowe’s Tamburlaine the Great, Parts 1 and 2 (1587): (1) the shepherd character as a monstrous despot, (2) pastoral love of the shepherds and (3) the mobilization of nations/tribes to take revenge against Tamburlaine/Ghlaiṣ. Ṣāliḥ’s delineation of the nomadic hero Ghlaiṣ is similar to the Marlovian model of Tamburlaine in a time of war and love. Ghlaiṣ, as an Arab Jordanian Tamburlaine, seeks in a Machiavellian manner an ultimate rule and control over all nomadic tribes in the Jordanian desert and behaves as a monstrous lover. This article takes two pieces of literature from two different cultures as an example of the adaptability of screen narrative to the scope of comparative literature and appropriation studies, showing simultaneously the experience of Jordanian screenwriters as one example of what Craig Batty calls the ‘screenwriting turn’ (2014: 1). Both Marlowe and Ṣāliḥ dramatize the shepherd despots to warn against the threat of colonial and imperial ambitions and models.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41963207","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
Creative Practice Research in the Age of Neoliberal Hopelessness, Agnieszka Piotrowska (ed.) (2020) 《新自由主义绝望时代的创造性实践研究》，Agnieszka Piotrowska(编)(2020)
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-07-01 DOI: 10.1386/josc_00099_5
James Shelton
{"title":"Creative Practice Research in the Age of Neoliberal Hopelessness, Agnieszka Piotrowska (ed.) (2020)","authors":"James Shelton","doi":"10.1386/josc_00099_5","DOIUrl":"https://doi.org/10.1386/josc_00099_5","url":null,"abstract":"Review of: Creative Practice Research in the Age of Neoliberal Hopelessness, Agnieszka Piotrowska (ed.) (2020)\u0000Edinburgh: Edinburgh University Press, 326 pp.,\u0000ISBN 978-1-47446-356-0, h/bk, £85.00","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44386701","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 we role: The collaborative role-playing poetics of the Secret Story Network 我们的角色扮演：秘密故事网络的合作角色扮演诗学
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-07-01 DOI: 10.1386/josc_00094_1
Brad Gyori, A. Zaluczkowska
{"title":"How we role: The collaborative role-playing poetics of the Secret Story Network","authors":"Brad Gyori, A. Zaluczkowska","doi":"10.1386/josc_00094_1","DOIUrl":"https://doi.org/10.1386/josc_00094_1","url":null,"abstract":"In 2018, a group of ten academics and industry professionals created ‘The Secret Story Network’. This practice-research initiative produced ten 60–90-minute role-playing games conducted on the social media platform WhatsApp. In the process, we worked to identify and refine design strategies that incentivize engagement with the type of narrative collaboration that media scholars commonly call ‘collective storytelling’. Via the participatory action research methodology, this study evolved through cycles of prototyping, testing, feedback, reflection and modification. This article analyses our study in relation to the ‘Threefold Word Model’ for RPGs proposed by Kim. Based on the affordances of the WhatsApp interface, we suggest a modification of this conceptual frame, in line with scholars such as Edwards, Bøckman and Bowman that extends investigations into four theoretical lenses that we use to examine the stories in our study. These modes are (1) drama, (2) game, (3) simulation and (4) immersion. The observations made also suggest new avenues for ‘writing’ and creating interactive digital narratives.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49593342","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
The biopic screenplay as a research output: Towards a working definition of narrative fiction filmmaking methodology 作为研究成果的传记电影剧本：走向叙事小说电影制作方法的工作定义
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-07-01 DOI: 10.1386/josc_00093_1
Michael Bentham
{"title":"The biopic screenplay as a research output: Towards a working definition of narrative fiction filmmaking methodology","authors":"Michael Bentham","doi":"10.1386/josc_00093_1","DOIUrl":"https://doi.org/10.1386/josc_00093_1","url":null,"abstract":"Can the writing of a screenplay or the making of a narrative fiction film be considered a form of academic research? This will be a familiar question for those professional filmmakers entering the academy. To answer this question, scholars of screenwriting and screen production face the difficulty of articulating their creative practice as research within the broader institutional research cultures of the academy. This article seeks to overcome this difficulty by reflecting on the methods employed in the process of screenwriting a biopic about British boxer Randolph Turpin. To demonstrate how screenwriting and screen production practice generates and disseminates new knowledge, I offer a working definition of narrative fiction filmmaking as methodology, where mise en scène is shown to operate as a core reflective strategy.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47341499","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 社论
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-07-01 DOI: 10.1386/josc_00090_2
Craig Batty
{"title":"Editorial","authors":"Craig Batty","doi":"10.1386/josc_00090_2","DOIUrl":"https://doi.org/10.1386/josc_00090_2","url":null,"abstract":"","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49431228","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
‘I wasn’t open to notes’: S. Craig Zahler, Dragged Across Concrete (2018) and the 157-page screenplay “我不愿意接受笔记”:s·克雷格·扎勒，《拖过混凝土》(2018)和157页的剧本
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-04-01 DOI: 10.1386/josc_00080_1
Lee Goodare
{"title":"‘I wasn’t open to notes’: S. Craig Zahler, Dragged Across Concrete (2018) and the 157-page screenplay","authors":"Lee Goodare","doi":"10.1386/josc_00080_1","DOIUrl":"https://doi.org/10.1386/josc_00080_1","url":null,"abstract":"Drawn to its distinctive narrative style and length, in this article I examine writer-director S. Craig Zahler’s third feature screenplay, Dragged Across Concrete. I focus on Zahler’s authorship and creative writing, which flouts many screenwriting conventions. Zahler’s\u0000 screenplay, totalling 157 pages, is considerably longer than the recommended length of 90‐120 pages and it is examined and contextualized here via discussion of length, style, character, scenes, genre and dialogue. This analysis contributes to the formal study of the screenplay as a\u0000 source text and aims to counter what Steven Price has termed the ‘screenplay’s near-invisibility in critical analysis’.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47828250","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
Hauntological screenwriting: Reflections on writing Render 古生物学编剧：对编剧的思考
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-04-01 DOI: 10.1386/josc_00083_1
Tracy Mathewson
{"title":"Hauntological screenwriting: Reflections on writing Render","authors":"Tracy Mathewson","doi":"10.1386/josc_00083_1","DOIUrl":"https://doi.org/10.1386/josc_00083_1","url":null,"abstract":"A hauntological reflection on the theoretical and practical approaches to developing Render, a feature-length conspiracy screenplay written to discern whether and how it is possible to present viable justice in a conspiracy film amidst a twenty-first-century technological and\u0000 conspiracy culture. Alongside the introduction of new narrative techniques such as ‘corruption of the protagonist’, ‘emergence of the inner voice’, ‘many-headed monster’, and genre-appropriate classifications such as the ‘seen/unseen threat’\u0000 and surveillance capitalism as the logic behind the conspiracy genre’s new behemoth ‘Big Technology’, this article blends academic analysis with personal reflection to involve the reader in the liminal space between theory and practice, the tension between objective and subjective\u0000 and the intuitive and at times designless process that perpetuates each subsequent draft of a feature screenplay. Here, the application of hauntology as a lens through which to view the screenwriting process is explored to characterize the ebb and flow between that which is no longer (the\u0000 previous draft) and that which is still not yet (the next draft).","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46315584","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
Little cinemas: Eugene O’Neill as screenwriter 小影院：尤金·奥尼尔担任编剧
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-04-01 DOI: 10.1386/josc_00082_1
Bennet Schaber
{"title":"Little cinemas: Eugene O’Neill as screenwriter","authors":"Bennet Schaber","doi":"10.1386/josc_00082_1","DOIUrl":"https://doi.org/10.1386/josc_00082_1","url":null,"abstract":"In November of 1926, Eugene O’Neill (1888‐1953) wrote photoplays of two of his most successful and ambitious dramas of the 1920s, The Hairy Ape (1922) and Desire under the Elms (1924). O’Neill was motivated in part by the journalist and screenwriter Ralph Block’s promotion of the ‘little cinema’ movement, the prestige model of authorship that accompanied it as well as the movement’s actual momentum in New York in the late 1920s. Thus, optimism about the growth of an increasingly sophisticated audience as well as accounts of the innovative possibilities for film form promoted by the likes of Block and Victor O. Freeburg seem to have encouraged O’Neill to imagine a potential cinema in harmony with his own commitments to experimentalism and aesthetic autonomy. Although neither photoplay was ever produced, both bear the traces of O’Neill’s attentiveness to contemporary, intermedial theories of film and drama as well as the playwright’s own history of film viewing.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45055856","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
Screenwriting is Filmmaking: The Theory and Practice of Writing for the Screen, Brian Dunnigan (2019) 编剧就是电影制作：为银幕写作的理论与实践，布莱恩·邓尼根（2019）
IF 0.2 4区 艺术学
Journal of Screenwriting Pub Date : 2022-04-01 DOI: 10.1386/josc_00089_5
Misty Brawner
{"title":"Screenwriting is Filmmaking: The Theory and Practice of Writing for the Screen, Brian Dunnigan (2019)","authors":"Misty Brawner","doi":"10.1386/josc_00089_5","DOIUrl":"https://doi.org/10.1386/josc_00089_5","url":null,"abstract":"Review of: Screenwriting is Filmmaking: The Theory and Practice of Writing for the Screen, Brian Dunnigan (2019)Marlborough: The Crowood Press Ltd., 168 pp.,ISBN: 978-1-78500-609-8, p/bk, USD$22.88","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864654","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
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