Journal of Screenwriting最新文献_第9页

The Art of Screen Adaptation: Top Writers Reveal Their Craft, Alistair Owen (2020) 《改编电影的艺术：顶尖作家揭示他们的技艺》，阿利斯泰尔·欧文（2020）

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2021-03-01 DOI: 10.1386/JOSC_00051_5

C. Gist

引用次数: 0

How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue 叙事技巧如何吸引年轻父母：中国3D动画电影《小熊维尼：营救》中Logger Vick的形象重塑

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2021-03-01 DOI: 10.1386/JOSC_00049_1

Shaopeng Chen

{"title":"How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue","authors":"Shaopeng Chen","doi":"10.1386/JOSC_00049_1","DOIUrl":"https://doi.org/10.1386/JOSC_00049_1","url":null,"abstract":"This article analyses the screenwriting of Boonie Bears: To the Rescue (2014), a film version of the Chinese 3D animated adventure TV series, Boonie Bears. The child-oriented principle of storytelling is one of the most distinctive features of full-length Chinese animated films, especially those produced over the past decade. Within this context, Boonie Bears: To the Rescue epitomizes how Chinese animators are striving to expand the scope of their target audience from children to parent–child groups through the development of narrative competence. This article explores how the arrangement of narrative techniques helps to attract young parents (in their late 20s and early 30s) to cinemas while also retaining the child audience. These endeavours are primarily represented by the refiguration of Logger Vick, the main antagonist in the Boonie Bears animated TV series, who is transformed from a thoroughly wicked villain to a living, ordinary person who could be considered to be the ‘spokesperson’ for young Chinese adults. In this way, the screenwriting techniques in the film strike a responsive chord in the hearts of its adult viewers, thereby broadening the range of its original (TV series) target audience.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":"12 1","pages":"75-94"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47813964","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

Collaborative self-translation in the screenplays of The Godfather trilogy 《教父》三部曲剧本中的合作自译

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2021-03-01 DOI: 10.1386/JOSC_00047_1

Rina Gefen, R. Weissbrod

{"title":"Collaborative self-translation in the screenplays of The Godfather trilogy","authors":"Rina Gefen, R. Weissbrod","doi":"10.1386/JOSC_00047_1","DOIUrl":"https://doi.org/10.1386/JOSC_00047_1","url":null,"abstract":"This study examines the adaptation of the novel The Godfather into screenplays by author Mario Puzo and director Francis Ford Coppola. Combining translation and adaptation studies, we regard this adaptation as a case of ‘collaborative self-translation’, a concept that has so far been rarely applied beyond translations studies, and use a model designed for the study of adaptation to analyse it. However, we expand the model by applying it to screenplays, and examining prequel and sequel, which are mainly present in the second and third screenplays of the trilogy. In addition to calling attention to the screenplay as a vital stage in the transformation of a literary work into a film, this article shows that the adaptation model can be a valuable tool to systematically analyse adapted screenplays, thus expanding the methodological repertoire of both adaptation and screenwriting studies. Moreover, it was found that the combined discussion of adaptation, sequel and prequel may contribute to an understanding of the complex relations between them and the source. Based on these theoretical insights, we show that through merging the creative powers of Puzo and Coppola, the screenplays shed new light on social, family and cultural themes that appear to some extent in the novel, taking the conventions of the crime genre in new and surprising directions.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":"12 1","pages":"39-54"},"PeriodicalIF":0.2,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43332594","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

Slay the Dragon: Writing Great Video Games, Robert Denton Bryant and Keith Giglio (2015) 《屠龙记：书写伟大的电子游戏》，Robert Denton Bryant和Keith Giglio（2015）

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2021-03-01 DOI: 10.1386/JOSC_00053_5

Yousif Nash

引用次数: 9

Russian web series: Mastering the new format 俄语网络连续剧:掌握新格式

IF 0.2 4区艺术学

Journal of Screenwriting Pub Date : 2021-03-01 DOI: 10.1386/JOSC_00046_1

A. Prokhorov

引用次数: 3

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

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

‘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":"11 1","pages":"347-362"},"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

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":"11 1","pages":"287-302"},"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":" ","pages":""},"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