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.
{"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":" ","pages":""},"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}
Review of: En Cas De Malheur, De Simenon A Autant-Lara (1956-1958): Essai De Genetique Scenaristique, Alain Boillat (2020) Geneva: Droz, 376 pp., ISBN 978-2-60006-046-2, p/bk, €18.90
评论:En Cas De Malheur, De Simenon A Autant-Lara (1956-1958): Essai De Genetique Scenaristique, Alain Boillat(2020)日内瓦:Droz, 376页，ISBN 978-2-60006-046-2, p/bk, 18.90欧元
{"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":" ","pages":""},"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}
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.
{"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":" ","pages":""},"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}
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.
本文介绍了与丹尼斯波特档案，迪恩遗产中心，迪恩博物馆信托基金，英格兰进行的工作有关的奖学金。它认为，丹尼斯·波特档案是一个重要的档案，包括著名作家丹尼斯·波特(1935-94)几乎所有作品的手写手稿和笔记本草稿，让我们能够独特地进入他的创造力的引擎室。这篇文章的重点是“发现”以前不为人知和/或难以接近的波特作品，包括未制作的电视剧和未制作的电影剧本的完整草稿。它也为波特最著名的作品《歌唱侦探》(BBC TV 1986)的起源提供了新的线索。它显示了这部剧是如何以“最后一部”电视剧开始的，但随着剧情的发展，波特又回到了他年轻时在几十年前写的一部未出版的小说中首次探索的主题和关注点。将档案中的研究与波特一生中关于他工作的陈述结合起来，本文使用了积累的波特奖学金，以及手稿批判性分析和年代确定，以便更清晰、更全面地了解这位英国电视和电影史上最著名的人物之一的工作生活。
{"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":"1 1","pages":""},"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}
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.
{"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":" ","pages":""},"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}
Review of: Beyond the Hero’s Journey: Creating Powerful and Original Character Arcs for the Screen, Anthony Mullins (2022) Harpenden: Kamera Books, 320 pp., ISBN 978-0-85730-511-4, p/bk, AUD 27.95
{"title":"Beyond the Hero’s Journey: Creating Powerful and Original Character Arcs for the Screen, Anthony Mullins (2022)","authors":"R. Ferrell","doi":"10.1386/josc_00117_5","DOIUrl":"https://doi.org/10.1386/josc_00117_5","url":null,"abstract":"Review of: Beyond the Hero’s Journey: Creating Powerful and Original Character Arcs for the Screen, Anthony Mullins (2022)\u0000 Harpenden: Kamera Books, 320 pp.,\u0000 ISBN 978-0-85730-511-4, p/bk, AUD 27.95","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42454889","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}
Review of: The Sun and Her Stars: Salka Viertel and Hitler’s Exiles in the Golden Age of Hollywood, Donna Rifkin (2020) New York City: Other Press, 560 pp., ISBN 978-1-59051-721-5, h/bk, $21.00
{"title":"The Sun and Her Stars: Salka Viertel and Hitler’s Exiles in the Golden Age of Hollywood, Donna Rifkin (2020)","authors":"Rosanne Welch","doi":"10.1386/josc_00119_5","DOIUrl":"https://doi.org/10.1386/josc_00119_5","url":null,"abstract":"Review of: The Sun and Her Stars: Salka Viertel and Hitler’s Exiles in the Golden Age of Hollywood, Donna Rifkin (2020)\u0000 New York City: Other Press, 560 pp.,\u0000 ISBN 978-1-59051-721-5, h/bk, $21.00","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48600636","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}
Although a prominent characteristic of western cinematic narratives, the structure of psychological transformation known as the Character Arc remains ill-defined. Currently popular models based on value judgements demonstrate significant shortcomings, particularly the inability to account for the relativity of such judgements from one narrative context to the next. To rectify such issues, this article proposes a re-definition of the cinematic Character Arc using concepts obtained from Peter L. Berger and Thomas Luckmann’s book, The Social Construction of Reality. This new definition reframes the Character Arc as a dialectic between the ‘subjective reality’ of the protagonist and the ‘objective reality’ of the primary sphere of diegetic action. Through environmental friction and the acquisition of new knowledge, a protagonist’s initially incongruent mental model undergoes a process of re-socialization, creating a more objective comprehension of the demands or necessities of the story world and its social phenomena. The drama of a Character Arc is frequently informed by a clash of multiple ‘realities’, producing various complexities in form.
{"title":"Re-defining the Character Arc through Berger and Luckmann’s The Social Construction of Reality","authors":"Michael Welles Schock","doi":"10.1386/josc_00116_1","DOIUrl":"https://doi.org/10.1386/josc_00116_1","url":null,"abstract":"Although a prominent characteristic of western cinematic narratives, the structure of psychological transformation known as the Character Arc remains ill-defined. Currently popular models based on value judgements demonstrate significant shortcomings, particularly the inability to account for the relativity of such judgements from one narrative context to the next. To rectify such issues, this article proposes a re-definition of the cinematic Character Arc using concepts obtained from Peter L. Berger and Thomas Luckmann’s book, The Social Construction of Reality. This new definition reframes the Character Arc as a dialectic between the ‘subjective reality’ of the protagonist and the ‘objective reality’ of the primary sphere of diegetic action. Through environmental friction and the acquisition of new knowledge, a protagonist’s initially incongruent mental model undergoes a process of re-socialization, creating a more objective comprehension of the demands or necessities of the story world and its social phenomena. The drama of a Character Arc is frequently informed by a clash of multiple ‘realities’, producing various complexities in form.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48905421","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}
This editorial introduces the 14.1 issue of the Journal of Screenwriting. It provides an overview of the articles in the issue and makes reference to the 2022 Screenwriting Research Network (SRN) conference held at the University of Vienna, which was the first face-to-face conference of the SRN in three years.
{"title":"Editorial","authors":"Craig Batty","doi":"10.1386/josc_00111_2","DOIUrl":"https://doi.org/10.1386/josc_00111_2","url":null,"abstract":"This editorial introduces the 14.1 issue of the Journal of Screenwriting. It provides an overview of the articles in the issue and makes reference to the 2022 Screenwriting Research Network (SRN) conference held at the University of Vienna, which was the first face-to-face conference of the SRN in three years.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42088070","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}
The principal aim of this article is to explore how screenwriters can guide audience emotions with respect to the television anti-heroine and encourage their engagement. The model ‘piloting audience emotion for the television anti-heroine’ will be presented as a screenwriting tool to encourage audience engagement by sequencing specific emotional responses at key points in a pilot episode. This framework is the result of the author’s research that explored how audience engagement with a television anti-heroine can be encouraged and comprised of the development of a television show titled Angela. Discoveries made during practice were used to synthesize Aristotle’s understanding of pity, fear and catharsis with Murray Smith’s structure of sympathy. The model that arose is not an absolute approach, but regardless of its veracity, the conclusions drawn will at the very least promote scholarship concerning the creative development of an anti-heroine screenplay. Before the framework and the specific components comprising it are critically unpacked, the term emotion is first defined within the context of this article.
{"title":"Piloting audience emotion for the television anti-heroine: Gender and immorality","authors":"Levi Dean","doi":"10.1386/josc_00113_1","DOIUrl":"https://doi.org/10.1386/josc_00113_1","url":null,"abstract":"The principal aim of this article is to explore how screenwriters can guide audience emotions with respect to the television anti-heroine and encourage their engagement. The model ‘piloting audience emotion for the television anti-heroine’ will be presented as a screenwriting tool to encourage audience engagement by sequencing specific emotional responses at key points in a pilot episode. This framework is the result of the author’s research that explored how audience engagement with a television anti-heroine can be encouraged and comprised of the development of a television show titled Angela. Discoveries made during practice were used to synthesize Aristotle’s understanding of pity, fear and catharsis with Murray Smith’s structure of sympathy. The model that arose is not an absolute approach, but regardless of its veracity, the conclusions drawn will at the very least promote scholarship concerning the creative development of an anti-heroine screenplay. Before the framework and the specific components comprising it are critically unpacked, the term emotion is first defined within the context of this article.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49364121","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：