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Global Scriptwriting [Pehme köide]

(Tisch School of the Arts, New York University, NY, USA)
  • Formaat: Paperback / softback, 268 pages, kõrgus x laius: 234x156 mm, kaal: 500 g
  • Ilmumisaeg: 11-Jun-2001
  • Kirjastus: Focal Press
  • ISBN-10: 0240804287
  • ISBN-13: 9780240804286
Teised raamatud teemal:
  • Formaat: Paperback / softback, 268 pages, kõrgus x laius: 234x156 mm, kaal: 500 g
  • Ilmumisaeg: 11-Jun-2001
  • Kirjastus: Focal Press
  • ISBN-10: 0240804287
  • ISBN-13: 9780240804286
Teised raamatud teemal:
Global Scriptwriting offers a look at an exciting new phase in screen storytelling, as writers and directors from all over the world infuse traditional forms with their own cultural values to create stories that have an international appeal and suggest a universality among readers, viewers, and listeners. A unique blend of screenwriting technique and film studies, Global Scriptwriting discusses screen stories as they have evolved through the years, focusing first on the basics of scriptwriting, then going on to afford a more sophisticated look at script via different models of scriptwriting: the Hollywood model, the independent model, the national model, and various alternative models. It examines the internationalization of storytelling, and illustrates how particular innovations have helped national screen stories to international success.


This book is the first to incorporate the basics of the classical form with the innovative edge of the last decade, as well the culture specific changes that have taken place outside of North America. It offers readers a view of the enriched repertoire available to writers resulting from the introduction of cultural perspectives into traditional story forms. Specific topics examined include, the ascent of voice, the search for new forms, the struggle between style and content, and the centrality of megagenre.

Includes numerous case studies and examples
Focuses on how adaptation, innovation, and cultural values combine to create internationally successful stories

Arvustused

"Global Scriptwriting is a treat of a read, going in-depth into the many voices and stories that are told away from the meddling hand of Hollywood." -The Writer's Guild of Britain

Muu info

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


Ken Dancyger is the author of numerous books on screenwriting, editing, and production. He conducts screenwriting forums and workshops in North America, Europe, and Asia. A past chair of Undergraduate studies in the Department of Film and Television at NYU, he is currently Professor of Film and Television at the Tisch School of the Arts at New York University.