Acknowledgments |
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ix | |
Introduction |
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xi | |
PART I UNIVERSAL ELEMENTS OF SCRIPT |
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1 | (88) |
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3 | (23) |
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The Visual versus the Spoken |
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4 | (2) |
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6 | (8) |
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A Case Study in the Basics: Elia Kazan's America America |
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14 | (6) |
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Imagination and Success in the Screenplay |
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20 | (4) |
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The Short Film and the Long Film |
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24 | (1) |
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Drama versus Documentary versus Experimental Narratives |
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25 | (1) |
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26 | (17) |
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26 | (1) |
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The Main Character and the Role of a Goal |
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27 | (1) |
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Source of Resistance to Character and Goal |
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27 | (1) |
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The Source of Greatest Resistance: The Antagonist |
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28 | (1) |
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29 | (1) |
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30 | (2) |
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32 | (6) |
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Character in the Plot-Driven Film: The Films of Joseph Ruben |
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38 | (1) |
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The Character-Driven Film: The Films of Lasse Hallstrom |
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39 | (4) |
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43 | (16) |
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43 | (1) |
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44 | (7) |
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51 | (5) |
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56 | (3) |
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59 | (16) |
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60 | (1) |
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61 | (2) |
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The Role of Character in Genre |
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63 | (2) |
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The Role of Structure in Genre |
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65 | (1) |
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The Case of Michael Mann's Heat |
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66 | (2) |
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The Case of Michael Mann's The Insider |
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68 | (2) |
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The Case of Michael Mann's The Last of the Mohicans |
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70 | (1) |
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The Case of Franklin Schaffner's Planet of the Apes |
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71 | (1) |
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The Case of Ridley Scott's Blade Runner |
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71 | (1) |
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The Case of John Frankenheimer's Seconds |
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72 | (1) |
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73 | (1) |
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73 | (2) |
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75 | (14) |
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The Case of Peter Medak's Romeo Is Bleeding |
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76 | (1) |
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The Case of the Films of Ang Lee and Stanley Kubrick |
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77 | (1) |
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The Case of the Films of John Ford, Fritz Lang, and Billy Wilder |
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78 | (2) |
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The Case of the Films of Stone, Lee, Mamet, Bertolucci, and Egoyan |
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80 | (3) |
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Genres that Elevate Voice |
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83 | (6) |
PART II PARTICULARS ABOUT SCRIPTWRITING |
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89 | (62) |
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91 | (12) |
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92 | (1) |
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93 | (1) |
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The Attraction to Genres of Action |
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94 | (1) |
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The Voice of Possibility over Adversity |
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95 | (1) |
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The Transformation of the Main Character into a Hero |
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96 | (2) |
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The Role of Dissent in the Hollywood Film |
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98 | (1) |
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The Case of Howard Hawks' Ball of Fire |
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99 | (2) |
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The Case of Saving Private Ryan |
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101 | (2) |
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103 | (11) |
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The Centrality of Character: The Case of John Cassavetes-Husbands and Opening Night |
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104 | (2) |
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Politics and the Independent Film I: The Case of the Ballad of Little Jo |
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106 | (1) |
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Politics and the Independent Film II: The Case of Slam |
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107 | (1) |
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Politics and the Independent Film III: The Case of Boys Don't Cry |
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107 | (1) |
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The Experimental Narrative I: The Case of the Draughtsman's Contract |
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108 | (2) |
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The Experimental Narrative II: The Case of The Cook, the Thief, His Wife and Her Lover |
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110 | (1) |
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110 | (1) |
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Breaking the Rules I: The Case of She's Gotta Have It |
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111 | (1) |
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Breaking the Rules II: The Case of Mean Streets |
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112 | (1) |
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Breaking the Rules III: The Case of The Nasty Girl |
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112 | (2) |
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114 | (13) |
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The Arts and Their Influence: The Case of Italy |
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116 | (1) |
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The Art of Possibility: The Case of France |
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117 | (3) |
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Working with Genre: The Case of the United Kingdom |
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120 | (4) |
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Challenging Genre: The Case of Australia |
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124 | (3) |
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127 | (12) |
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129 | (3) |
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132 | (1) |
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133 | (2) |
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135 | (4) |
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139 | (12) |
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The Case of The Manchurian Candidate |
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139 | (2) |
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The Intellectual Voice: Mike Nichols and Franklin Schaffner |
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141 | (3) |
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The More Assertive Voice: Arthur Penn and Robert Altman |
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144 | (4) |
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The Assertive Voice: Stanley Kubrick and Quentin Tarantino |
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148 | (3) |
PART III THE INTERNATIONALIZATION OF STORYTELLING |
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151 | (78) |
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153 | (11) |
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Juzo Itami-The Soft Satirist |
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153 | (2) |
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Neil LaBute-The Cruel Satirist |
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155 | (1) |
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Neil Jordan-The Voice of Tolerance |
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156 | (2) |
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Spike Lee-The Teacher/Preacher |
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158 | (1) |
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Thom Fitzgerald-The Voice of Sexual Difference |
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159 | (1) |
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Clara Law-The Modern Traditionalist |
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160 | (1) |
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Tod Solondz-The Scream as Voice |
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161 | (3) |
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164 | (11) |
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164 | (2) |
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166 | (1) |
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167 | (3) |
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170 | (5) |
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The Struggle of Style and Content |
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175 | (13) |
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The Subversion of Narrative: The Case of Bunuel and Godard |
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175 | (3) |
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The Subversion of Realism: The Case of Stone and Scorsese |
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178 | (1) |
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The Dynamic of the Overwrought Treatment of Narrative: The Case of Bertolucci's Beseiged |
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179 | (1) |
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The Structural Challenge to Content |
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180 | (1) |
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181 | (2) |
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The Tonal Challenge to Content |
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183 | (1) |
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Narration Subverts the Narrative |
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184 | (3) |
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187 | (1) |
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The Medium Is the Message |
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188 | (9) |
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The Pre-McLuhan Era in Film |
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188 | (3) |
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The Post-McLuhan Era in Film |
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191 | (6) |
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The Centrality of Metagenre |
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197 | (12) |
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199 | (2) |
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201 | (3) |
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204 | (3) |
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207 | (2) |
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Big Issues Plus National Stereotypes |
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209 | (9) |
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209 | (2) |
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211 | (1) |
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The Case of Antonia's Line |
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212 | (1) |
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The Case of All About My Mother |
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213 | (1) |
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214 | (1) |
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The Case of Shall We Dance |
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215 | (1) |
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The Case of The Full Monty |
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216 | (2) |
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The Search for the Global Tale |
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218 | (11) |
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The Case of Agnieska Holland's Olivier Olivier |
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221 | (1) |
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The Case of Mike Radford's II Postino |
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222 | (1) |
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The Case of Ang Lee's The Ice Storm |
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223 | (1) |
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The Case of Sam Mendes' American Beauty |
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224 | (2) |
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The Case of Mary Harron's American Psycho |
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226 | (3) |
Appendix: Script Treatment |
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229 | (12) |
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229 | (5) |
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234 | (7) |
Index |
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241 | |