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CONTENTS
Editorials
3–6  Jill Nelmes7–10 Ian W. Macdonald
 Articles
11– 25 After the typewriter: the screenplay in a digital era Kathryn Millard27–43 ‘Everybody’s a Writer’ Theorizing screenwriting as creative labour Bridget Conor45–58 ‘…So it’s not surprising I’m neurotic’ The Screenwriter and the Screen Idea Work Group Ian W. Macdonald59–81 Teaching screenwriting in a time of storytelling blindness: the meeting of the auteur and the screenwriting tradition in Danish film-making Eva Novrup Redvall83–97 The protagonist’s dramatic goals, wants and needs Patrick Cattrysse99–112 Cyber-Aristotle: towards a poetics for interactive screenwriting Jasmina Kallay113–129 Tonino Guerra: the screenwriter as a narrative technician or as a poet of images? Authorship and method in the writer–director relationship Riikka Pelo131–148 Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration on
If 
.... (1968) Isabelle Gourdin-Sangouard149–173 Screenwriting strategies in Marguerite Duras’s script for
Hiroshima, Mon Amour 
 (1960) Rosamund Davies175–196 No room for the fun stuff: the question of the screenplay in American indie cinema J. J. Murphy
Research Resources
197–202 Unpublished scripts in BFI Special Collections: a few highlights Nathalie Morris
Reviews
203–206
Screenwriting: History, Theory and Practice,
 Steven Maras (2009)207–210
And the Best Screenplay Goes to…,
 Linda Seger (2008)210–213
Authorship in Film Adaptation,
  Jack Boozer (ed.) (2008)214–217
Embodied Visions: Evolution, Emotion, Culture and Film,
 Torben Grodal (2009)
 
ADVISORY BOARD
 John Adams, University of BristolRobert Engels, California State University  Adam Ganz, Royal Holloway, University of LondonPhil Parker, Script Developer (ex-Head of Screenwriting at LCP)Chris Walker, De Montfort University 
EDITORIAL BOARD
Sue Clayton, Royal Holloway, University of LondonKen Dancyger, New York University  Jim Hill, De Montfort University Steven Maras, University of Sydney Kathryn Millard, Maquarie University, Sydney  JJ Murphy, University of Wisconsin-MadisonSteven Price, Bangor University Isabelle Reynauld, University of Montreal Andrew Spicer, University of West of England Kristin Thompson, University of Wisconsin-MadisonPaul Wells, University of Loughborough
 
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 JOSC 1 (1) pp. 3–6 Intellect Limited 2010
 Journal of ScreenwritingVolume 1 Number 1
© 2010 Intellect Ltd Editorial. English language. doi: 10.1386/josc.1.1.3/2
EDITORIAL
 JILL NELMES
Principal Editor
The
 Journal of Screenwriting 
 is a timely and much needed addition to the increasing number of published works on the subject of the screenplay. As Co-Editor Ian Macdonald points out below, it is sur-prising that there appears not to have been a journal on the subject of screenwriting previously, but as a result of this lack, a journal spe-cifically devoted to the study of screenwriting has now been launched  which aims to communicate and encourage the cross-fertilization of ideas in a more immediate way. There have been few arenas which allowed for writing and discussion of the screenplay with an aca-demic focus; journals such as the
 Journal of Media Practice
 and
 Journal of British Cinema and Television
 (
 JBCTV 
 ) have championed the cause for further research by publishing articles and special issues on the study of screenwriting; Lina Khatib (2007: 106), editor of the
 Journal of  Media Practice
 , has identified this as an ‘under-researched area’. John Cook and Andrew Spicer (2008: 213), in their introduction to a spe-cial issue on screenwriting in the
 JBCTV 
 , pointed out that ‘discussion of screenwriting is a notable blind spot in both British cinema and television studies’. The number of academic books published on the subject is now happily increasing; Steven Maras’s recently published
Screenwriting: History, Theory and Practice
 (2009) is one such exam-ple and an important contribution to the field, while Steven Price’s
The Screenplay: Authorship, Ideology, Criticism
 is to be published later this year. The first Screenwriting Conference was held in Leeds last  year and this year it will be in Helsinki, and on a much larger scale, as the number of papers to be presented has tripled; the associated

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