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El. knyga: Writing for the Screen: Creative and Critical Approaches

3.66/5 (30 ratings by Goodreads)
, (RMIT University, Melbourne, Australia)
  • Formatas: PDF+DRM
  • Serija: Approaches to Writing
  • Išleidimo metai: 12-Apr-2019
  • Leidėjas: Red Globe Press
  • Kalba: eng
  • ISBN-13: 9781352006032
Kitos knygos pagal šią temą:
  • Formatas: PDF+DRM
  • Serija: Approaches to Writing
  • Išleidimo metai: 12-Apr-2019
  • Leidėjas: Red Globe Press
  • Kalba: eng
  • ISBN-13: 9781352006032
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This revised and refreshed edition guides the contemporary screenwriter through a variety of creative and critical approaches to a deeper understanding of how to tell stories for the screen. With a renewed focus on theme and structure, the book is an essential guide for writers, script developers and teachers to help develop ideas into rich dynamic projects, and craft compelling, resonating screenplays. Combining creative tools and approaches with critical and contextual underpinnings, the book is ideal for screenwriting students who are looking to expand their skills and reflect on practices to add greater depth to their scripts. It will also inspire experienced writers and developers to find fresh ways of working and consider how new technology is affecting storytelling voices. Comprehensive and engaging, this book considers key narrative questions of today and offers a range of exercises to address them.

Integrating creative guidance with rigorous scholarship, this is the perfect companion for undergraduate students taking courses in screenwriting. Encouraging and pragmatic, it will provide a wealth of inspiration for those wishing to work in the industry or deepen their study of the practice.

New to this Edition: - Refreshed and revised edition to meet the demands of contemporary screenwriting - New case studies, models, tools and approaches to writing for the screen - Updated areas of industry practice, including web series, transmedia, VR and long-form storytelling - Includes practical approaches and creative exercises that can be used in the classroom

Recenzijos

Writing for the Screen, blending as it does theory and practical application, is the best single volume available for university students working on screenwriting courses today. * Tim Kelly, Coventry University, UK * With a combination of exercises to flex creative muscles, critical analysis of key scenes and insights into the workings of the industry, Writing for the Screen is an invaluable guide and source of inspiration wherever you are in your media career. * Sally Angel, Emmy award-winning producer, UK * Insightful, accessible and full of useful exercises, this highly readable screenwriting book has all the essential elements you need to understand the art and craft of screenwriting. * Ben Michael, University of Melbourne, Australia *

Preface xi
Acknowledgements xv
Introduction xvii
Part I Foundations
1 Establishing Practice
3(10)
The development process
4(5)
Script to screen
9(2)
Working with genre
11(2)
2 Subject: Ideas into Character
13(18)
What is a story?
14(1)
Character and plot
15(2)
Character journey as story
17(3)
Audience journey as story
20(1)
The role of the protagonist
21(1)
The role of the antagonist
22(3)
The minor character
25(6)
3 Structure and Narrative
31(30)
Physical and emotional journeys
31(2)
Thematic journeys
33(1)
Classical three-act structure
34(1)
Structural architecture
35(1)
Structural architecture case studies
36(8)
Beginnings and endings
44(4)
Scene structure
48(1)
What is a good scene?
49(1)
Finding the purpose of a scene
49(4)
Topping and tailing
53(1)
Scene transitions
54(1)
Scene structure case studies
55(6)
4 Visual Storytelling
61(18)
The basics of visual storytelling
61(4)
The `four tools' technique
65(4)
Implying the shot
69(1)
Scene case studies
70(3)
Writing scene action
73(2)
Visual symbolism and metaphor
75(4)
5 Dialogue and Voice
79(18)
The purpose of dialogue
80(1)
Dialogue techniques
81(2)
The key phrase
83(1)
Exposition
84(2)
Writing dialogue
86(1)
Subtext
87(3)
Writing and voice
90(1)
Writing for a voice
90(3)
Voicing the world
93(4)
6 The Cultures of Screenwriting
97(18)
Industry culture
97(1)
Cinema
97(3)
Television
100(2)
Short form
102(2)
Working with industry
104(1)
The script reader
105(1)
The culture of genre
106(2)
Genre and structure
108(1)
Genre and character
109(2)
Genre and visual storytelling
111(4)
7 Key Points and Foundations Exercises
115(20)
Subject: Ideas into character
115(3)
Structure and narrative
118(5)
Visual storytelling
123(5)
Dialogue and voice
128(7)
Part II Speculations
8 Exploring Possibilities
135(20)
On collaboration
136(1)
Working with feedback
137(2)
The role of the script editor
139(2)
Story meetings
141(2)
Writers' groups
143(1)
Co-writing
144(1)
Working with actors
145(2)
The interactive audience in VR
147(8)
9 Subjects: Ideas into Characters
155(20)
Sourcing ideas for the screen
155(4)
Pitching as telling vs. pitching as selling
159(2)
World as character
161(3)
Audience as character
164(2)
Character and psychology
166(5)
Writing the real
171(4)
10 Structures and Narratives
175(28)
The purpose of structure
175(1)
Structure as character arc
176(1)
Structure as music
177(1)
Structure as theme
178(1)
Structure as social ideology
179(2)
Linear emotion in non-linear plot
181(3)
The flashback narrative
184(1)
Types of flashback
185(2)
Time frames
187(4)
Multiple protagonist narratives
191(4)
Parallel stories
195(2)
Un film collectif
197(2)
Closure, pleasure and ideology
199(4)
11 Visual Storytelling
203(12)
Visual pleasure
203(2)
Visual spectacle
205(3)
Animation and visual effects
208(1)
The sound---image relationship
209(6)
12 Dialogues and Voices
215(12)
Working with voiceover
216(3)
Dialogue and power transactions
219(2)
Screenwriting and authorship
221(3)
Authorial voice as marketing tool
224(3)
13 Further Cultures of Screenwriting
227(16)
Commercial vs. commercially viable
227(1)
Cultures of production and distribution
228(4)
Digital cultures of development tools
232(2)
Cultures of teaching screenwriting
234(1)
Structures of reality TV
235(5)
Creative media consumers
240(3)
14 Key Points and Speculations Exercises
243(18)
Exploring possibilities
243(1)
Subjects: Ideas into characters
244(7)
Structures and narratives
251(4)
Visual storytelling
255(3)
Dialogues and voices
258(3)
References 261(10)
Index 271(9)
Scripted works 280
Professor Craig Batty is Head of Creative Writing at the University of Technology Sydney, Australia. He is an award-winning educator and researcher, with interests in screenwriting craft, theory and teaching, creative practice research methodologies, and supervising creative doctorates. He is also a writer, script editor and script consultant.

Zara Waldeback is a script consultant and creative specialist currently living in Sweden and working across Europe. In the UK, she was for many years Senior Lecturer in Screenwriting and Directing at Thames Valley University, as well as working in development for British Screen and the First Film Foundation. She now teaches key narrative skills to a range of creative artists, and works as script editor for feature films, including the award-winning Sami Blood