This article presents a case study of the Australian children’s television programme, First Day (ABC Australia 2020‐present), which depicts a young transgender girl’s experiences beginning high school. The article explores the screenwriting process involved in creating inclusive and diverse children’s television, drawing on an original interview with Julie Kalceff, the show’s screenwriter and director. Kalceff discusses her screenwriting process writing for and about children who occupy liminal and marginal spaces and the research, writing and consultation processes undertaken to create her pioneering work with trans characters as lead protagonists. The resulting series explores the universal experience of starting the high school journey, while allowing for a normalizing of gender diversity on-screen ‐ hopefully the first of many of its type in the future. By foregrounding historically marginalized characters, screenwriters can explore universal social, psychological and physical trials, and in the process, break down stigmas surrounding LGBTQ people.
本文介绍了澳大利亚儿童电视节目《第一天》(ABC Australia 2020年至今)的一个案例研究，该节目描述了一个年轻的变性女孩开始上高中的经历。本文通过对该剧编剧兼导演朱莉·卡尔塞夫(Julie Kalceff)的采访，探讨了创作包容性和多样性儿童电视节目的编剧过程。Kalceff讨论了她的编剧过程，她为那些占据有限和边缘空间的儿童写作，以及为创作她以跨性别角色为主角的开创性作品所进行的研究、写作和咨询过程。最终的剧集探索了开始高中旅程的普遍经历，同时允许屏幕上的性别多样性正常化-希望这是未来许多类型的第一个。通过突出历史上被边缘化的角色，编剧可以探索普遍的社会、心理和生理考验，并在此过程中打破围绕LGBTQ人群的污名。
{"title":"Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day","authors":"N. Krikowa","doi":"10.1386/josc_00070_1","DOIUrl":"https://doi.org/10.1386/josc_00070_1","url":null,"abstract":"This article presents a case study of the Australian children’s television programme, First Day (ABC Australia 2020‐present), which depicts a young transgender girl’s experiences beginning high school. The article explores the screenwriting process involved\u0000 in creating inclusive and diverse children’s television, drawing on an original interview with Julie Kalceff, the show’s screenwriter and director. Kalceff discusses her screenwriting process writing for and about children who occupy liminal and marginal spaces and the research,\u0000 writing and consultation processes undertaken to create her pioneering work with trans characters as lead protagonists. The resulting series explores the universal experience of starting the high school journey, while allowing for a normalizing of gender diversity on-screen ‐ hopefully\u0000 the first of many of its type in the future. By foregrounding historically marginalized characters, screenwriters can explore universal social, psychological and physical trials, and in the process, break down stigmas surrounding LGBTQ people.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44980732","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: Backwards & In Heels: The Past, Present and Future of Women Working in Film, Alicia Malone (2017)Coral Gables, FL: Mango Publishing Group, 242 pp.,ISBN 978-1-63353-617-3, p/bk, £12.99
{"title":"Backwards & In Heels: The Past, Present and Future of Women Working in Film, Alicia Malone (2017)","authors":"J. Shelton","doi":"10.1386/josc_00076_5","DOIUrl":"https://doi.org/10.1386/josc_00076_5","url":null,"abstract":"Review of: Backwards & In Heels: The Past, Present and Future of Women Working in Film, Alicia Malone (2017)Coral Gables, FL: Mango Publishing Group, 242 pp.,ISBN 978-1-63353-617-3, p/bk, £12.99","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43477502","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 discusses a series of screenwriting for animation workshops dedicated to writing for children, using the specific characteristics of the animated form, and seeking to identify the particularity of creating material for a children’s audience. The discussion explores different approaches for children of a variety of ages, cultural backgrounds and national contexts. It takes into account global theories of child welfare and the needs of practitioners in speaking to issues of child development and social and educational sensitivities.
{"title":"‘Do animals talk in this dimension? ’Cos I don’t wanna freak anyone out’: Writing for children’s animation","authors":"P. Wells","doi":"10.1386/josc_00073_1","DOIUrl":"https://doi.org/10.1386/josc_00073_1","url":null,"abstract":"This article discusses a series of screenwriting for animation workshops dedicated to writing for children, using the specific characteristics of the animated form, and seeking to identify the particularity of creating material for a children’s audience. The discussion explores\u0000 different approaches for children of a variety of ages, cultural backgrounds and national contexts. It takes into account global theories of child welfare and the needs of practitioners in speaking to issues of child development and social and educational sensitivities.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47088417","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: Screenwriter: The Life and Times of Nunnally Johnson, Tom Stempel (1980)San Diego, CA: A.S. Barnes & Company Inc., 269 pp.,ISBN 978-0-49802-362-0, h/bk, $35.00 (New)
{"title":"Screenwriter: The Life and Times of Nunnally Johnson, Tom Stempel (1980)","authors":"Austin Hobbs","doi":"10.1386/josc_00065_5","DOIUrl":"https://doi.org/10.1386/josc_00065_5","url":null,"abstract":"Review of: Screenwriter: The Life and Times of Nunnally Johnson, Tom Stempel (1980)San Diego, CA: A.S. Barnes & Company Inc., 269 pp.,ISBN 978-0-49802-362-0, h/bk, $35.00 (New)","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43250474","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}
In this article, we discuss the importance of unity in the feature film script and the mechanism of its development based on the two elements of dramatic action and theme. We investigate the consequences of prioritizing theme over the action on the foundation of the dramatic structure of the screenplay, considering one of the most famous Iranian films, Asghar Farhadi’s The Salesman (2016), the winner of the best screenplay at the 2016 Cannes Film Festival. In any form of drama, the chain of actions leads to a specific theme, and the theme in turn directs this chain. Therefore, to create an organic structure, the balanced development of action and theme is essential. Manipulating this balance in favour of highlighting the theme, and understanding the chain of actions based on the theme weakens the logical relationship of the actions as well as the dramatic structure, ultimately turning some actions into redundancies that can be eliminated. The study shows that in The Salesman’s screenplay, through prioritizing the theme over the action and disrupting the natural process of perceiving the theme from the chain of actions, a structure is created in which the presence of some actions are only justified by referring to the theme. Therefore, a number of events/scenes in the screenplay can be omitted without interfering with the unity of the narrative and the formation and expression of the theme. As a result, prioritizing the theme over the action in the foundation of the script inevitably leads to a flawed structure.
{"title":"Theme orientation and the inevitable outcome of structural flaws: Investigating the results of the dominance of theme over action in Farhadi’s The Salesman","authors":"Shahryar Sadeqy, Masoud Naghashzadeh","doi":"10.1386/josc_00058_1","DOIUrl":"https://doi.org/10.1386/josc_00058_1","url":null,"abstract":"In this article, we discuss the importance of unity in the feature film script and the mechanism of its development based on the two elements of dramatic action and theme. We investigate the consequences of prioritizing theme over the action on the foundation of the dramatic structure\u0000 of the screenplay, considering one of the most famous Iranian films, Asghar Farhadi’s The Salesman (2016), the winner of the best screenplay at the 2016 Cannes Film Festival. In any form of drama, the chain of actions leads to a specific theme, and the theme in turn directs this\u0000 chain. Therefore, to create an organic structure, the balanced development of action and theme is essential. Manipulating this balance in favour of highlighting the theme, and understanding the chain of actions based on the theme weakens the logical relationship of the actions as well as the\u0000 dramatic structure, ultimately turning some actions into redundancies that can be eliminated. The study shows that in The Salesman’s screenplay, through prioritizing the theme over the action and disrupting the natural process of perceiving the theme from the chain of actions,\u0000 a structure is created in which the presence of some actions are only justified by referring to the theme. Therefore, a number of events/scenes in the screenplay can be omitted without interfering with the unity of the narrative and the formation and expression of the theme. As a result, prioritizing\u0000 the theme over the action in the foundation of the script inevitably leads to a flawed structure.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42209998","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}
Guides to writing screenplays worry most about plot sequence, character development and the dialogue. Yet, the ‘big print’ is a necessary part of any screenplay and as an educator I work with my screenwriting students to learn how to craft the big print so it is both powerful and minimal. This article is an examination of the art and style of screenplay prose; in particular, I use the screenplays of Arac Attack (released as Eight Legged Freaks), Aliens and Platoon as distinctive examples of diegetic writing in order to illustrate variations of style and how these affect the progress of the script and further, how the encumbering big print forecasts the overall tonal choices of the film. Each style discussed (minimalist, poetic/expansive and florid/expressionistic) is accompanied by suggestions for classroom or independent-study exercises meant to help develop movie writing style. Too long has the screenplay been seen simply as a blueprint for the final film; it is now time to begin appreciating the art of the written word in screenplay studies.
{"title":"Art in the ‘big print’: An examination and exercises for cinematic prose writing style","authors":"Russell Brickey","doi":"10.1386/josc_00061_1","DOIUrl":"https://doi.org/10.1386/josc_00061_1","url":null,"abstract":"Guides to writing screenplays worry most about plot sequence, character development and the dialogue. Yet, the ‘big print’ is a necessary part of any screenplay and as an educator I work with my screenwriting students to learn how to craft the big print so it is both powerful\u0000 and minimal. This article is an examination of the art and style of screenplay prose; in particular, I use the screenplays of Arac Attack (released as Eight Legged Freaks), Aliens and Platoon as distinctive examples of diegetic writing in order to illustrate variations\u0000 of style and how these affect the progress of the script and further, how the encumbering big print forecasts the overall tonal choices of the film. Each style discussed (minimalist, poetic/expansive and florid/expressionistic) is accompanied by suggestions for classroom or independent-study\u0000 exercises meant to help develop movie writing style. Too long has the screenplay been seen simply as a blueprint for the final film; it is now time to begin appreciating the art of the written word in screenplay studies.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48626344","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}
Recent years have seen a growing interest in the history of fields of study and academic disciplines. While recognizing a number of limitations, this article explores the emergence of screenwriting research in Australia. It addresses the question of what were the cultural conditions that gave rise to contemporary screenwriting research in Australia. The article discusses three key factors: firstly, long-standing policy settings around cultural identity and content in film and television; secondly, active debates around ‘screen culture’ that have given discussions of the place of culture and story special prominence and contributed to awareness of questions of cultural ‘value’, and conventional separations of production and consumption; thirdly, the rise of film studies in the 1970s, which gave ferment to research into narrative and story forms. My goal is to capture some of the contextual features that are important to an understanding of screenwriting research in this period and geography, and to suggest that screenwriting research emerged as intellectual attitude and area of interest that eventually crystallized as part of a more formalized arena of study in the later 2000s.
{"title":"Screenwriting research in Australia: A truncated (pre)history","authors":"Steven Maras","doi":"10.1386/josc_00059_1","DOIUrl":"https://doi.org/10.1386/josc_00059_1","url":null,"abstract":"Recent years have seen a growing interest in the history of fields of study and academic disciplines. While recognizing a number of limitations, this article explores the emergence of screenwriting research in Australia. It addresses the question of what were the cultural conditions\u0000 that gave rise to contemporary screenwriting research in Australia. The article discusses three key factors: firstly, long-standing policy settings around cultural identity and content in film and television; secondly, active debates around ‘screen culture’ that have given discussions\u0000 of the place of culture and story special prominence and contributed to awareness of questions of cultural ‘value’, and conventional separations of production and consumption; thirdly, the rise of film studies in the 1970s, which gave ferment to research into narrative and story\u0000 forms. My goal is to capture some of the contextual features that are important to an understanding of screenwriting research in this period and geography, and to suggest that screenwriting research emerged as intellectual attitude and area of interest that eventually crystallized as part\u0000 of a more formalized arena of study in the later 2000s.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49612622","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}
A personal reflection on the origins and development of the Screenwriting Research Network, and of the discipline of screenwriting studies, from 2008‐20.
从2008-2010年开始，对编剧研究网络和编剧研究学科的起源和发展进行了个人反思。
{"title":"Meeting old friends for the first time: A personal reflection on the development of the Screenwriting Research Network","authors":"Ian W. Macdonald","doi":"10.1386/josc_00060_1","DOIUrl":"https://doi.org/10.1386/josc_00060_1","url":null,"abstract":"A personal reflection on the origins and development of the Screenwriting Research Network, and of the discipline of screenwriting studies, from 2008‐20.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45736576","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}
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