The Bloomsbury Handbook of Global Screenplay Theory offers a comprehensive introduction and overview of screenplay theory as applied in the analysis of numerous screenplays from an international, multi-author perspective, including both leading and emerging scholars in the field. Each section includes 6-8 case studies of theory applied in the analysis of a landmark screenplay.
The sections are divided thematically, with sections addressing the Screenplay as Narration and Focalisation, the Screenplay as Narrative Structure, the Screenplay as Cinematic Language and the Screenplay as Creative Practice. With both theorists and practitioners contributing to this volume, the focus is on the actual screenplay as opposed to analysis of the final film. The essays contribute to a new era in screenplay theory, providing valuable insights not only into the particular screenplays under analysis but also into the range of ways in which such analysis can be approached, representing a wide range of theoretical perspectives.
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With its unique range of close readings breaking widely diverse ground, The Bloomsbury Handbook of Global Screenplay Theory proposes a refreshing breadth of different approaches (rather than one unified theory) to the study of the screenplay as a multi-faceted object of inquiry, text and process that not only furthers but goes well beyond existing scholarship. Gay and Igelstrom draw together a collection of multi-cultural dimensions into one comprehensive volume that will, doubtlessly, be a key reference and a new touchstone for any scholar. * Paolo Russo, Programme Director for Media Arts & Photography, Oxford Brookes University, UK * The editors of this essential survey of screenwriting studies identify a Big Bang moment around 2010, when a hitherto almost wholly disregarded form of writing suddenly burst into critical view. The ensuing theoretical debates rippled out across multiple disciplines, and this all-new collection maps out the currently visible sources of light in theories of narration, structure, cinematic language and creative practice. With incisive contributions from both established and emerging scholars, and always keeping the screenplay text as its focal point, this will be an indispensable resource for all future researchers. * Steven Price, Professor Emeritus in Literature and Film, Bangor University, UK *
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Offers a comprehensive introduction and overview of screenplay theory as applied in the analysis of numerous screenplays from an international, multi-author perspective.
List of Figures
List of Tables
Acknowledgements
Editors and Contributors
Introduction: In Search of Screenplay Theory
Andrew Kenneth Gay (Southern Oregon University, USA) and Ann Igelstrom
(Independent Scholar, UK)
Part I: The Screenplay as Narration and Focalisation
1. THE CAMERA IS JEAN-DOMINIQUE BAUBY: Narration & Focalisation in
Three Texts of The Diving Bell and the Butterfly (1997/n.d./2007)
Andrew Kenneth Gay (Southern Oregon University, USA)
2. The Hole at the Centre of the Donut: A Question of Focalisation and
Character Perspective in Knives Out (2019)
Ann Igelstrom (Independent Scholar, UK)
3. Writing the Viewer: Narration and Perspective in a Cinematic Virtual
Reality Screenplay
Kath Dooley (Adelaide University, Australia)
4. Making Sense of Character Perspective in Languages of the Big
Print: The Case of a Hand Losing Her Body in Jai perdu mon corps / I Lost
My Body (2019)
Carina Böhm (Independent Scholar, Australia) and Craig Batty (Adelaide
University, Australia)
5. Past and Present, Old and New (1929): On Tense, Time, and Narrators
in Screenwriting
Alexandra Ksenofontova (Independent Scholar, Germany)
6. Look At Me: The Childs Gaze as a Culturally Informed Narrative
Device in the Danish Screenplay En du elsker / Someone You Love (2014)
Cath Moore (University of Melbourne, Australia)
Part II: The Screenplay as Narrative Structure
7. Imposing New Hollywood Structure on the Remake of 3:10 to Yuma
(2007)
Mads Larsen (Norwegian University of Science and Technology, Norway)
8. Community-Centered Screenwriting: the Actualization of Narrative
Sovereignty in Sterlin Harjo and Taika Waititis Reservation Dogs
(2021-2023)
Jess King (DePaul University, USA) and Michelle Hurtubise (Temple University,
USA)
9. Narrative Structure in Mari Okadas Maquia: When the Promised Flower
Blooms, Japan (2018)
Maxine Gee (Bournemouth University, UK)
10. Narrative Structure in the Iranian Screenplay: An Analysis of Asghar
Farhadis The Salesman (2016)
Chris Neilan (Manchester Metropolitan University, UK)
11. Time, Narrative and Boyhood (2014)
Carolina Amaral (Pontifícia Universidade Católica do Rio de Janeiro, Brazil)
12. Time is Not Relative A Modern and Postmodern Approach to Time in
Kubricks The Shining (1980)
Kerstin Stutterheim (Edinburgh Napier University, UK)
13. Is It Or Isnt It? Narrative Ambiguity and Queerness in Barbie (2023)
Tracy Mathewson (University College London, UK)
Part III: The Screenplay as Cinematic Language
14. Visual Dramaturgy from Caligari (1920) to Shutter Island (2010)
Kerstin Stutterheim (Edinburgh Napier University, UK)
15. Cinema and the Camera-Eye in Alan Sharps Screenplay-Novel Hybrid
Picture Yourself (n.d.)
River Seager (Independent Scholar, UK)
16. Apropos of Editing and Camera Cues: A Comparative Analysis of the
Screenplay Texts for Federico Fellinis Le notti di Cabiria / Nights of
Cabiria (1957)
Claudia Romanelli (The University of Alabama, USA)
17. A Boy and His Watermelons: Mise-En-Scene in Sweet Country (2017)
Glenda Hambly (Monash University, Australia)
18. Sound Design and Music Proposals in Lucrecia Martels Screenplay for
The Swamp (2001)
Iana Cossoy Paro (EICTV International Film School, Cuba)
19. Writing in Waltz Time: Walter Reischs Musical Writing in Two Hearts in
Waltz Time (1930)
Claus Tieber (University of Vienna, Austria)
Part IV: The Screenplay as Creative Practice
20. Such a foreign presence in Hertfordshire: Black Georgian Women Coming
into Representation in Misan Sagays Belle (2009/2012)
Claudia Sternberg (University of Leeds, UK)
21. Characterization, Dialogue, and Performance in Lawrence Kasdans
Screenplay for Raiders of the Lost Ark (1981)
Brett Davies (Meiji University, Japan)
22. Maryam's Windows and Marziyeh's Screens The Self-fiction at the
Processes, Poetics and Authorships of This is not a film (2011) and 3 Faces
(2018), by Jafar Panahi
Márcio Andrade (Independent Scholar, Brazil)
23. Dorothy Parker: The Creative Genius Behind the Film Franchise A Star Is
Born
Rosanne Welch (Stephens College, US)
24. Narrative Strategies in Biopics Based on Scant Historical Evidence: The
Return of Martin Guerre (1982)
Indranil Chakravarty (Independent Scholar, India)
25. Exploring Characterization and Theme in the Screenwriting Process: The
Case of Gladiator (2000)
Carmen Sofia Brenes (Universidad Gabriela Mistral, Chile)
26. A Few Good Men (1992): When Adaptation Captures The Essence Of The
Original
Paulo Braga (Università Cattolica del Sacro Cuore, Italy)
27. An Exemplary Adaptation: Sense And Sensibility (1995)
Armando Fumagalli (Università Cattolica del Sacro Cuore, Italy)
Index
Andrew Kenneth Gay is Dean of the College of Arts & Humanities, Executive Director of Oregon Center for the Arts and Professor of Digital Cinema at Southern Oregon University, USA
Ann Igelstrom is Lecturer in Screenwriting and an independent researcher based in Edinburgh, UK
