Preface |
|
xi | |
Acknowledgements |
|
xv | |
Introduction |
|
xvii | |
|
|
|
|
3 | (10) |
|
|
4 | (5) |
|
|
9 | (2) |
|
|
11 | (2) |
|
2 Subject: Ideas into Character |
|
|
13 | (18) |
|
|
14 | (1) |
|
|
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) |
|
|
25 | (6) |
|
3 Structure and Narrative |
|
|
31 | (30) |
|
Physical and emotional journeys |
|
|
31 | (2) |
|
|
33 | (1) |
|
Classical three-act structure |
|
|
34 | (1) |
|
|
35 | (1) |
|
Structural architecture case studies |
|
|
36 | (8) |
|
|
44 | (4) |
|
|
48 | (1) |
|
|
49 | (1) |
|
Finding the purpose of a scene |
|
|
49 | (4) |
|
|
53 | (1) |
|
|
54 | (1) |
|
Scene structure case studies |
|
|
55 | (6) |
|
|
61 | (18) |
|
The basics of visual storytelling |
|
|
61 | (4) |
|
The `four tools' technique |
|
|
65 | (4) |
|
|
69 | (1) |
|
|
70 | (3) |
|
|
73 | (2) |
|
Visual symbolism and metaphor |
|
|
75 | (4) |
|
|
79 | (18) |
|
|
80 | (1) |
|
|
81 | (2) |
|
|
83 | (1) |
|
|
84 | (2) |
|
|
86 | (1) |
|
|
87 | (3) |
|
|
90 | (1) |
|
|
90 | (3) |
|
|
93 | (4) |
|
6 The Cultures of Screenwriting |
|
|
97 | (18) |
|
|
97 | (1) |
|
|
97 | (3) |
|
|
100 | (2) |
|
|
102 | (2) |
|
|
104 | (1) |
|
|
105 | (1) |
|
|
106 | (2) |
|
|
108 | (1) |
|
|
109 | (2) |
|
Genre and visual storytelling |
|
|
111 | (4) |
|
7 Key Points and Foundations Exercises |
|
|
115 | (20) |
|
Subject: Ideas into character |
|
|
115 | (3) |
|
|
118 | (5) |
|
|
123 | (5) |
|
|
128 | (7) |
|
|
|
8 Exploring Possibilities |
|
|
135 | (20) |
|
|
136 | (1) |
|
|
137 | (2) |
|
The role of the script editor |
|
|
139 | (2) |
|
|
141 | (2) |
|
|
143 | (1) |
|
|
144 | (1) |
|
|
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) |
|
|
161 | (3) |
|
|
164 | (2) |
|
|
166 | (5) |
|
|
171 | (4) |
|
10 Structures and Narratives |
|
|
175 | (28) |
|
|
175 | (1) |
|
Structure as character arc |
|
|
176 | (1) |
|
|
177 | (1) |
|
|
178 | (1) |
|
Structure as social ideology |
|
|
179 | (2) |
|
Linear emotion in non-linear plot |
|
|
181 | (3) |
|
|
184 | (1) |
|
|
185 | (2) |
|
|
187 | (4) |
|
Multiple protagonist narratives |
|
|
191 | (4) |
|
|
195 | (2) |
|
|
197 | (2) |
|
Closure, pleasure and ideology |
|
|
199 | (4) |
|
|
203 | (12) |
|
|
203 | (2) |
|
|
205 | (3) |
|
Animation and visual effects |
|
|
208 | (1) |
|
The sound---image relationship |
|
|
209 | (6) |
|
|
215 | (12) |
|
|
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) |
|
|
235 | (5) |
|
|
240 | (3) |
|
14 Key Points and Speculations Exercises |
|
|
243 | (18) |
|
|
243 | (1) |
|
Subjects: Ideas into characters |
|
|
244 | (7) |
|
Structures and narratives |
|
|
251 | (4) |
|
|
255 | (3) |
|
|
258 | (3) |
References |
|
261 | (10) |
Index |
|
271 | (9) |
Scripted works |
|
280 | |