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The representation of the LGBTIQ+ community in TV series has received major attention from academia, mostly from textual and reception perspectives. However, the creative and industrial processes behind the production of media content, including the writers' views and experiences, remain under-explored, especially outside of the United States and Northern Europe. Drawing on Queer Production Studies, this research seeks to fill this gap in Queer Media Studies by examining Spanish screenwriters' experiences and conceptions regarding the creation of fictional LGBTIQ+ characters for TV shows, and observes how the broadcasting industry influences this process. Semi-structured interviews were conducted with 19 Spanish screenwriters. Following thematic analysis informed by grounded theory, the main results show that normalization guides the creation of LGBTIQ+ characters, although there are differences in the way screenwriters define this concept. Moreover, the narrative exposition of the intimate lives of LGBTIQ+ characters emerges as the main dilemma in that normalization. Likewise, scriptwriters perceive ambivalent attitudes from the TV industry: Whereas the inclusion of LGBTIQ+ characters seems mandatory these days, there are fears that this might lead to low viewing figures or of reputations being tarnished by negative criticism. The results of this investigation further our understanding of how the concept of normalization shapes the creation of LGBTIQ+ media representations as perceived by professionals who play significant roles in their production. These findings contribute to the advancement of knowledge within LGBTIQ+ media studies and the construction of queer media representations. They also expand the scope of the under-explored field of Production Studies and diversify its geographical area of study. [ABSTRACT FROM AUTHOR]

Richard Corliss's book, "Talking Pictures: Screenwriters in the American Cinema," challenged the dominant auteur theory in film studies by emphasizing the importance of screenwriters in the creative process. Corliss argued that directors must have a screenplay before they can bring a film to life, and therefore screenwriters should be recognized as essential contributors. While the book has been criticized for its lack of female representation, it sparked further research and discussions on the role of screenwriters and other collaborators in filmmaking. Corliss's work continues to shape debates in film studies and has influenced the recognition of screenwriters in the industry. [Extracted from the article]

This article investigates the working life of Taiwanese TV screenwriters who have commuted across the Taiwan Strait since the 2010s to supplement previous research on Taiwanese creative workers in China. My analysis is divided into three parts: (1) the screenwriters' work structure and problems; (2) how their self-enterprising ethos pushes them to adhere to the Chinese state-market regime; and (3) the competitions in the screenwriting field, their solutions to the problems, and their attitudes toward building collective solidarity to empower themselves. This article argues that the Taiwanese screenwriters working across the Taiwan Strait have three common features: self-enterprising, self-censorship, and self-interests. Their competition has resulted in internal rivalry, jealousy, and personal attacks. So far, their resolutions to problems are individually based, and they do not change the structural relations that the screenwriters collectively face. [ABSTRACT FROM AUTHOR]

Drawing on Aristotle’s Poetics and my work as a screenwriter in Hollywood, I look to some commonalities in the ways dramatists and psychoanalysts generate meaning through action and interactions. These ways include an attention to the interweave of text and subtext, a sense of rhythm and timing, an inquisitive stance and an interest in reversals and the recognition that follows. [ABSTRACT FROM AUTHOR]

Playwrights and screenwriters compose dialogues with characters from both genders. Assuming that men and women speak or write differently, can a great author take account of this difference? Previous studies have ascertained some stylistic markers that can discriminate between men and women either in writing or oral productions. The main aim of this study is to verify whether in Shakespeare's plays female figures are talking in a distinct way compared with male ones. First, this study confirms the effectiveness of a set of predefined stylistic features using a tweet dataset extracted from CLEF-PAN corpora. Second, we demonstrate that the two genders present distinct styles when analyzing twenty-nine of Shakespeare's plays, demonstrating that the author adopts a distinct style for each gender. Our experiments are grounded on two efficient classifiers (logistic regression and random forest) able to automatically identify short passages (500 or 1,000 word-tokens) corresponding to either a male or a female utterance with an accuracy of around 80%. [ABSTRACT FROM AUTHOR]

Joseph McBride's book, "Billy Wilder: Dancing on the Edge," provides a comprehensive and critical evaluation of Billy Wilder's career as a journalist, screenwriter, and film director. McBride's extensive research and personal connection to Wilder allow him to offer intimate details and insights not found elsewhere. The book covers Wilder's early life in Germany, his work as a journalist and screenwriter, and his later years as a director. McBride acknowledges Wilder's talent and flaws, and explores the impact of his films on social viewpoints. Overall, this book offers a valuable and in-depth study of a complex filmmaker. [Extracted from the article]

Approaching the writing of a scene in this way, the authors argue, makes character motivations clear, creates tension and leaves room for either additional obstacles or resolution. Which points to another fundamental premise that Perry and Sanders believe in, namely that every scene needs to have both a goal and an obstacle. I SceneWriting: The Missing Manual for Screenwriters i by Chris Perry and Eric Henry Sanders is an essential primer on the important foundational structure and elements that make a scene - and by extrapolation, a story - work. [Extracted from the article]

Truman Capote (1924–1984) was a fascinating, entertaining, and much ballyhooed American character who came of age in the mid-Twentieth Century. Some would say he led a tragic life. Often described as a notable novelist, he was more generally a polymath dabbling in nonfiction between his parties. He also was a screenwriter, playwright, actor, and short-story writer. His literary classics include the novella Breakfast at Tiffany’s (1958, movie 1961) and true crime nonfiction “novel” (as Capote described it) In Cold Blood (1965, movie 1967). These two efforts became his most famous. But what about his poetry? Was this one of his creative passions? [ABSTRACT FROM AUTHOR]

In recent years, the increased take up of game engines in the context of emerging and traditional screen media production has fostered innovation across formats. Game engines present an opportunity to author immersive projects that draw upon the expertise of experience designers, game developers, screenwriters and other creative practitioners; however, questions arise as to the ways that individuals from different backgrounds might work together effectively on these projects given the varying 'poetics' of their fields. This term, used by Ian MacDonald in the context of screenwriting practice, refers to 'the rationalisation of a mode, or a paradigm, of practice; a collection of perceived norms that make sense together, for those involved in developing a screen idea, in that time and place' (2013, 3). This article explores the development of two screen works created using Unreal Engine, so as to outline the challenges for multidisciplinary teamwork in this area. This article will argue that the successful realisation of these projects called for the development of common ground around this new mode of practice, one fostered through a sharing of boundary objects (Star and Griesemer 1989), expertise and through listening to participant concerns. [ABSTRACT FROM AUTHOR]

This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film. Engaging feminist historiography, screenwriting studies, and sound studies, I argue that Marion's expressive use of narrativized sound in both sound and silent scripts was remarkably innovative, yet underappreciated. Her skillful use of integrated sound helps account for her success in the early 1930s and aligns with the style of sound filmmaking that later came to dominate. [ABSTRACT FROM AUTHOR]

This paper describes the history of the writing and the intellectual context for Nicole Vedrès's essay "The Leaves Are Stirring." It places Vedrès's claims about cinematic realism and montage in dialogue with canonical theorizations of film theory in France at this pivotal postwar moment, including the writing of André Bazin, André Malraux, Roger Leenhardt, and Alexandre Astruc. It draws out the points of contact between Vedrès's text and these better-known studies of film aesthetics, placing the piece in the context of contemporary aesthetic discourse and arguing for its singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history. [ABSTRACT FROM AUTHOR]

This paper presents the first English-language translation of "Les feuilles bougent" ("The Leaves Are Stirring"), writer-director Nicole Vedrès's most important essay on film aesthetics. Published in August 1948 in the illustrious revue, Les Temps Modernes, Vedrès's essay reflects on her then-recent experience of directing the celebrated archival documentary, Paris 1900 (1947). Using her experience of searching for and reediting footage of turn-of-the-century Paris as a springboard, Vedrès tackles a set of aesthetic problems that were being posed with renewed vigor among French film writers in the period after the war. These include questions of cinema's relationship to the real, the ability of images to capture historical change, and the relationship between cinematic montage and the act of writing. [ABSTRACT FROM AUTHOR]

The article offers information on the American novelist, screenwriter and film producer Charles Brackett. It further discusses Hollywood's "golden age" from roughly 1936 to 1960; two Oscar producing nominations for "Sunset Blvd." and "The King and I"; Brackett's long-time collaboration with the noted film producer, director and screenwriter Billy Wilder; and creating such film as "The Lost Weekend" about alcoholism and the winner of the Academy Award for Best Film.

This study discusses the Polish director Kristof Kieslowski‟s -who is known as the "filmmaker of inner lives" or "the poet of the cinema," uses various tools such as mystery, mysticism, melancholy and religious elements, while on one hand dealing with the inner world of people with a poetic language, on the other hand, strikingly discussing universal and social problems- cinematographic style, narrative structure and character presentation that made him a master or, in French words, an auteur.. All the films of the director have an important role in bringing the director to the final point of the film language by complementing each other and developing from each other. The “Double Life of Veronique”, which is the subject of our study in these films, has a special significance both for the reasons of the director's transition from Poland to France, his return from political films to poetic films, and for the fact that it is the predecessor of the Three Colours trilogy, which is his masterpiece. This important film in the history of cinema, which has never been studied in Turkish academically, stands at a very special point in terms of meeting the screenwriter, cinematographer and musician, who complemented the poetic film language of the director and worked with him in his later films. In this context, the 1991 film " Double Life of Veronique", in which the mysterious “doppelgänger” stories of two identical women, unaware of each other, symbolizing the mastery period in the director's cinema life and seen as a great turning point, is analyzed within the framework of the auteur theory. As a result of the study, it has been determined that the film carries all the elements of the film language and narrative structure that enable the director to be defined as an auteur. [ABSTRACT FROM AUTHOR]

The article presents an interview with Pascale Ferran and her presence in French Cinema. Topics include what filmmakers meant for her when she started out her career; how did she came up with writing a film related to her sister's death; and how did D. H. Lawrence's Lady Chatterley happen to be made a movie.

In the article, the author discusses the screenwriting practices of writers in their efforts to write about dead characters and bring life to them in films and the concept of 'narrative life.' Other topics include the discursive practices of writer and philosopher Michel Foucault, and the distinction between practices of habit and normative practices in writing.

The article informs about autobiographical works and life of Carlo Rim, a French screenwriter, by its animators such Marius Richard, socialist militant, journalist at the Petit Provençal , father of two children including Jean-Marius. Topics include multiple facets of Rim shed light on his double gift for admiration and friendship of a recognized Parisian figure; and bookish portrait of the actor, who is editor-in-chief of two publications of high quality by model and their contributors.

The purpose of a film treatment is to convince the reader of a cinematic story and the potential for the film to reach a broad audience. The treatment is a prose summary of the story as it plays out, in a compressed form, and is a process of screenwriting. It ensures the story is coherent and its meaning is made clear by conveying a sense of screenwriting conventions. Specifically, for the genre of historical drama, the poetics of a film treatment will encapsulate a blend of verifiable facts and creative solutions that contribute to the understanding of the past. Screenwriters, by way of empathetic and informed speculation, bridge the gap between epistemology and imagination to capture the hearts and minds of the audience. In 1902, a brilliant engineer's emotions are at breaking point in the final days of his life as he struggles to defend himself against false allegations of corruption and incompetence levelled at him by parliament and the press. This is the 'true' story of the Coolgardie Water Supply Scheme, in Western Australia, encompassing the longest water pipeline in the world, but events conspire against the Engineer-in-Chief, Mr C.Y. O'Connor, leading to his tragic death. [ABSTRACT FROM AUTHOR]

The Hollywood Golden Age was a revolutionary moment in the history of cinema and is pivotal to understanding the historical passage of a peculiar new art form -screenwriting. This early film period, from the Tens to the Sixties, was determined by key interactions between the respective forms of cinema and stage. Together, these interactions form a wider screenwriting "discourse." There are reoccurring disputes in film scholarship over the paternity of the conventions and techniques of screenwriting. One solution is that techniques of theatre playwriting persisted extensively in the production practices of classical Hollywood cinema. Whether or not its professionals were aware of this is at the heart of this dispute. It is possible to identify the contribution of screenwriting manuals from Hollywood's Golden Age toward the standardization of screenwriting techniques. The article aims to examine in the screenwriting manuals of this period some statements by practitioners who document the normalization and codification of the narrative structures used in screenwriting over time -in particular, the three-act structure. The validity and origin of the three-act structure are constantly debated among screenwriters. While this formula was known to the early writers of the Silent Era due to its legacy throughout centuries of playwriting and literature, it reappeared in the Seventies in the guise of a new theory. This article attempts to fill in certain gaps in the history of the theorization of screenwriting practices by juxtaposing statements found in screenwriting manuals and the statements of scholars and educators of this field. Ultimately, narrative conventions belonging to the tradition of theatre, as well as technological exigencies were integral in shaping the cinema techniques in use today. [ABSTRACT FROM AUTHOR]

This article explores how screenwriters can discover and inject their voice into their screenplay, as a method for achieving originality. It should be noted that the study is exclusively concerned with screenwriters scripting for the commercial market. The definition formed on originality reflects this industrial position. Originality, therefore, is defined as a screenwriter successfully synthesising storytelling principles with their own voice to render something new. However, what precisely comprises voice is nebulous. To resolve this, the article will first need to critically explore writer's voice to frame a precise definition. Once this has been accomplished, a new conceptual framework, Cracks of Culture, is presented as a formula to guide screenwriters to discover and inject their own voice. The concept is underpinned by leading philosopher and neuroscientist, Antonio Damasio's [2018. The Strange Order of Things: Life, Feeling, and the Making of Cultures. New York: Vintage Books] notion that, culture expresses all categories, which gives rise to the social order and structure of a society. Finally, the article demonstrates how screenwriters can authentically voice a character of an opposite gender. This method is then presented as a possible tool for writers wishing to voice other social groups, inciting the author to call upon further research to explore this hypothesis further. [ABSTRACT FROM AUTHOR]

This introduction to this interview presents Chloé Aïcha Boro, a Burkinabé journalist, writer, filmmaker and screenwriter. Although she started her career as a journalist for La voix du Sahel and Le Marabout in her native Burkina Faso, her love of literature inspired her to write novels and move on to screen writing and directing films. The introduction explores Le Loup d'or de Balolé. The interview focuses on her personal life and the making of her films, notably Farafin Ko and Le Loup d'or de Balolé. She explains the opportunities and challenges she faced during the production of her films, sharing her vision on documentary filmmaking. [ABSTRACT FROM AUTHOR]

This article examines the influence on early Russian cinema of Symbolism and the cinematographic activities of the poet Aleksandr A. Kursinskii. Thus far, the assumption has been that Symbolists worked only sporadically in cinema, and that Kursinskii had written only one screenplay for a film that was actually produced, Beautiful Like Death (1914). But documents that previously had escaped the attention of film studies specialists reveal that there were in fact many films influenced by Symbolists—among them the canonical 1914 releases Anna Karenina and Nest of the Gentry. Kursinskii, moreover, worked for one of the most influential film studios of prerevolutionary Russia, Timan and Reingardt, which in the 1910s produced the outstanding "Russian Golden Series" of films. The cinematography of the Symbolist Kursinskii hugely influenced Russian cinema of the mid‐to‐late 1910s. [ABSTRACT FROM AUTHOR]

The first black women filmmakers frequently remain unacknowledged for their contributions to the early years of black cinema. This essay examines the life and career of Alice Russell Micheaux (wife to black filmmaker Oscar Micheaux) who worked for the Micheaux Film Company between 1926 and 1948, where she served in a variety of capacities. Given her contributions, this essay argues that she deserves recognition among other early black women filmmakers in her own right as a significant film pioneer whose involvement propelled the development of this emergent cinema. I consider her formative years as the daughter of black newspaper editor and publisher Robert Russell, explore her adult years in Montclair, New Jersey, and critique the services she provided to the Micheaux Film Company [ABSTRACT FROM AUTHOR]

In this work it has been analized the participation of figures or techniques of amplification described by Geoffrey of Vinsauf, norman poet from 13th century, into the classical rhetoric dimensions known as dispositio (structure) and elocutio (style), so that I can exemplify how in film industry it can be witnessed its use in form of image design through cinematography, visual composition and scenic assembly. From this study, it is also possible to notice how screenwriters and directors have been able to offer moral or emotional meaning to the viewer. [ABSTRACT FROM AUTHOR]