Muutke küpsiste eelistusi

Writing for Visual Media 5th edition [Pehme köide]

3.53/5 (39 hinnangut Goodreads-ist)
  • Formaat: Paperback / softback, 398 pages, kõrgus x laius: 280x210 mm, kaal: 1080 g, 1 Tables, black and white; 4 Line drawings, black and white; 18 Halftones, black and white; 22 Illustrations, black and white
  • Ilmumisaeg: 29-Nov-2021
  • Kirjastus: Routledge
  • ISBN-10: 0367236257
  • ISBN-13: 9780367236250
Teised raamatud teemal:
Writing for Visual Media 5th editionSuurem pilt
  • Formaat: Paperback / softback, 398 pages, kõrgus x laius: 280x210 mm, kaal: 1080 g, 1 Tables, black and white; 4 Line drawings, black and white; 18 Halftones, black and white; 22 Illustrations, black and white
  • Ilmumisaeg: 29-Nov-2021
  • Kirjastus: Routledge
  • ISBN-10: 0367236257
  • ISBN-13: 9780367236250
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780367236250.html
Märksõnad:
"Writing for Visual Media provides writers with an understanding of the nature of visual writing behind all visual media. Such writing is vital for directors, actors, and producers to communicate content to audiences. Friedmann provides an extended investigation into dramatic theory and how entertainment narrative works, illustrated by examples and detailed analysis of scenes, scripts, techniques, and storylines. This new edition has a finger on the pulse of the rapidly evolving media ecosystem and explains it in the context of writing and creating content. Friedmann lays out many of the complex professional, creative, and commercial issues that a writer needs to understand in order to tell engaging stories and construct effective and professional screenplays. This new edition includes: A new chapter on storytelling;

Provides writers with an understanding of the nature of visual writing behind all visual media. Such writing is vital for directors, actors, and producers to communicate content to audiences. This new edition has a finger on the pulse of the rapidly evolving media ecosystem and explains it in the context of writing and creating content.



Writing for Visual Media provides writers with an understanding of the nature of visual writing behind all visual media. Such writing is vital for directors, actors, and producers to communicate content to audiences. Friedmann provides an extended investigation into dramatic theory and how entertainment narrative works, illustrated by examples and detailed analysis of scenes, scripts, techniques, and storylines. This new edition has a finger on the pulse of the rapidly evolving media ecosystem and explains it in the context of writing and creating content. Friedmann lays out many of the complex professional, creative, and commercial issues that a writer needs to understand in order to tell engaging stories and construct effective and professional screenplays.

This new edition includes:

  • A new chapter on storytelling

  • A fresh examination of dramatic theory and how to apply it to constructing screenplays

  • Updated discussion of mobile platforms

  • A lengthened discussion of copyright, ethics, and professional development issues

  • An updated companion website with sample scripts and corresponding videos, an interactive glossary, sample storyboards and screenplays, links to industry resources, and materials for instructors such as slides, a syllabus, and a test bank.

Arvustused

"Writing for Visual Media 5e by Mr. Anthony Friedmann is a well-written, comprehensive overview of writing for visual media that can complement any beginning course in screenwriting. I assigned it as weekly reading to my beginning students, and it greatly helped them understand the concept of writing for all types of media, and how to create story."

Linda Fitak, MFA, Teaching Associate at California State University Northridge, CTVA Department

Praise for the Previous Edition

"Worth its weight in gold .! It doesn't get any better than this: Here we have a master teacher Anthony Friedman, bringing 21 years of writing, producing and directing experience to bear writing the third edition of this very impressive text An impressive book that delivers what it promises an essential purchase for anyone interested in writing for the visual media." R. Neil Scott, Author, Former Professor & User Services, Librarian at Middle Tennessee State University (MTSU)

"An engaging textbook that trains, entertains and concentrates on contemporary writing issues in an accessible way. This book delivers a treasure trove of valuable, well-written information aspiring writers can use to familiarize themselves with the challenges of visual media." Jared Castle, marketing and public relations consultant, writer

"A comprehensive, well-structured, and well-written introduction to writing for electronic and digital screens wherever they might be found." Nathaniel Kohn, University of Georgia

" a critical text that is accessible for students. This textbook provides comprehensive examples and exercises to push students to engage with real-world examples that will be needed once they become professionals. Broken down into five parts, this book allows lecturers to focus on critical concepts either in order, or in smaller chunks. The section on Interactive and Mobile Media is a welcome addition to a mediated world that is going global with the use of a Smartphone!" Dr. Ann Luce, University of Portsmouth, UK

"Anthony Friedman is a master at his craft for writing for a variety of media. He is also a master when it comes to explaining his methods to the average lay man. I thought the book was brilliantly put together I feel this book is well worth the purchase price, and the time spent reading." Stephanie Manley, editor of CopyKat.com

"If my journalism students could only have three textbooks during their journalism academic career, I'd be pleased to know that "Writing for Visual Media" was one of them. From producing PSAs to defining target audiences to writing for interactive and mobile media, and finally, marketing oneself in this ever-changing media landscape, this text has the tools that journalism and new media students need now and tomorrow." Deidra Jackson, Instructor of Journalism, University of Mississippi Meek School of Journalism and New Media "Writing for Visual Media 5e by Mr. Anthony Friedmann is a well-written, comprehensive overview of writing for visual media that can complement any beginning course in screenwriting. I assigned it as weekly reading to my beginning students, and it greatly helped them understand the concept of writing for all types of media, and how to create story."

Linda Fitak, MFA, Teaching Associate at California State University Northridge, CTVA Department

Praise for the Previous Edition

"Worth its weight in gold .! It doesn't get any better than this: Here we have a master teacher Anthony Friedman, bringing 21 years of writing, producing and directing experience to bear writing the third edition of this very impressive text An impressive book that delivers what it promises an essential purchase for anyone interested in writing for the visual media." R. Neil Scott, Author, Former Professor & User Services, Librarian at Middle Tennessee State University (MTSU)

"An engaging textbook that trains, entertains and concentrates on contemporary writing issues in an accessible way. This book delivers a treasure trove of valuable, well-written information aspiring writers can use to familiarize themselves with the challenges of visual media." Jared Castle, marketing and public relations consultant, writer

"A comprehensive, well-structured, and well-written introduction to writing for electronic and digital screens wherever they might be found." Nathaniel Kohn, University of Georgia

" a critical text that is accessible for students. This textbook provides comprehensive examples and exercises to push students to engage with real-world examples that will be needed once they become professionals. Broken down into five parts, this book allows lecturers to focus on critical concepts either in order, or in smaller chunks. The section on Interactive and Mobile Media is a welcome addition to a mediated world that is going global with the use of a Smartphone!" Dr. Ann Luce, University of Portsmouth, UK

"Anthony Friedman is a master at his craft for writing for a variety of media. He is also a master when it comes to explaining his methods to the average lay man. I thought the book was brilliantly put together I feel this book is well worth the purchase price, and the time spent reading." Stephanie Manley, editor of CopyKat.com

"If my journalism students could only have three textbooks during their journalism academic career, I'd be pleased to know that "Writing for Visual Media" was one of them. From producing PSAs to defining target audiences to writing for interactive and mobile media, and finally, marketing oneself in this ever-changing media landscape, this text has the tools that journalism and new media students need now and tomorrow." Deidra Jackson, Instructor of Journalism, University of Mississippi Meek School of Journalism and New Media

Acknowledgments xv
Praise xvii
Praise for the Previous Editions xix
Preface xxi
What's on the Companion Website? xxiii
Introduction 1(6)
The Purpose
1(1)
The Premise of This Book
1(1)
Objectives
2(1)
Secondary Objectives
3(1)
The Basic Idea of a Script
3(1)
Meta-Writing
4(1)
The Learning Task
5(1)
Conclusion
6(1)
Part 1 Defining the Problem 7(78)
1 Describing One Medium through Another
9(14)
Writing Not to Be Read But To Be Made
9(1)
Writing, Producing, and Directing
10(2)
A Viewer Evolves to Become a Creator
12(1)
The Producer and Director Cannot Read Your Mind
12(1)
Instructions to the Production Crew
12(1)
What Is the Role of a Scriptwriter?
13(1)
What Is Visual Writing?
14(2)
Differences Compared to Novels and Stage Plays
16(1)
Meta-Writing
17(1)
Where do We Go From Here?
17(1)
Writing with Dialogue
18(1)
Writing without Dialogue
19(1)
Conclusion
20(1)
Exercises
20(3)
2 Describing Sight and Sound
23(20)
Describing Time and Place
24(1)
Describing Action
25(1)
Describing the Camera Frame or the Shot
26(3)
Describing Camera Movement
28(1)
Describing Graphics and Effects
29(1)
Describing Transitions between Shots
29(2)
Describing Sound
31(2)
Voice Narration and Dialogue
33(2)
Format for Radio
34(1)
Finding a Format for the Page
35(1)
Master Scene Script
35(1)
Dual-Column Format
36(2)
Storyboard
38(3)
TV Studio Multi-Camera Script
39(2)
News Anchor Script Format
41(1)
Conclusion
41(1)
Exercises
41(2)
3 A Seven-Step Method for Developing a Creative Concept
43(24)
Step 1: Define the Communication Problem
44(1)
Ivy College: An Admission Video
45(1)
PSA For Battered Women
45(1)
Shell Gas Internationl
46(1)
Step 2: Define the Target Audience
47(2)
Information Overload
48(1)
Demographics
49(2)
Age
50(1)
Gender
50(1)
Race and Ethnic Origin
50(1)
Education
51(1)
Income
51(1)
Psychographics
51(4)
Emotion
53(1)
Attitude
53(2)
Step 3: Define the Objective
55(1)
Step 4: Define the Strategy
56(1)
Attention Span
56(1)
Step 5: Define the Content
57(1)
Step 6: Define the Appropriate Medium
58(1)
Step 7: Create the Concept
59(1)
Seven-Step Questionnaire
60(3)
A Concept for an Antismoking PSA
63(2)
Conclusion
65(1)
Exercises
65(2)
4 The Stages of Script Development
67(18)
Background Research and Investigation
68(4)
Interviewing
70(2)
Location Research
72(1)
Brainstorming and Freeing Your Imagination
72(1)
Concept
73(2)
A Concept for a PSA: Texting and Driving
73(1)
Pitching
74(1)
Treatment
74(1)
A Treatment for a PSA: Texting While Driving
74(1)
Shot, Scene, and Sequence
75(1)
First-Draft Script
75(1)
A First-Draft Script for a PSA: Texting While Driving
76(2)
Revision
78(1)
Final-Draft Script
78(1)
A Final-Draft Script for a PSA: Texting While Driving
79(3)
Shooting Script
82(1)
Conclusion
83(1)
Exercises
83(2)
Part 2 Solving Communication Problems with Visual Media 85(82)
5 Ads and PSAs: Copywriting for Visual Media
87(30)
Copywriting versus Scriptwriting
88(1)
Client Needs and Priorities
89(1)
The 15-, 20-, and 30-Second Miniscripts
90(1)
Visual Writing
90(1)
Devices to Capture Audience Attention
91(7)
More on Ads and PSAs
98(7)
Humor
99(1)
Animation
100(1)
Shock
101(1)
Suspense
101(1)
Drama
101(1)
Children
102(1)
Serial Storytelling
103(1)
Testimonial
103(1)
Special Effects
104(1)
Sexual Innuendo
104(1)
Recruiting the Audience as a Character
105(1)
Engaging the Audience as Visual Thinker
106(2)
Patterns That Engage the Visual Cortex
107(1)
Writing for Audio
108(2)
Radio: Words without Pictures
110(1)
Infomercials
110(1)
Billboards and Transportation Ads
110(3)
Advertising on the World Wide Web
113(2)
Script Formats
115(1)
Conclusion
116(1)
Exercises
116(1)
6 Corporate Communications: Selling, Training, and Promoting
117(30)
Video as a Corporate Communications Tool
118(1)
Corporate Television
119(1)
Training, Instruction, and Education
120(1)
Educational/Instructional Use of Video
120(3)
Technical Writing
121(1)
Formative Evaluation
122(1)
Summative Evaluation
123(1)
Focus Groups
123(1)
Questionnaires
124(1)
SCORM
124(1)
Typical Corporate Communication Problems
125(2)
Getting Background and Product Knowledge
127(1)
Devices for Video Exposition
128(1)
Job and Task Description
128(1)
Show-and-Tell
128(1)
How-To Videos
129(1)
Interactive Applications
130(1)
Other Corporate Uses of Media
130(1)
Meetings with a Visual Focus
131(1)
Devices That Teach and Entertain
131(1)
Devices That Work for Corporate Messages
131(11)
Dramatization
132(1)
Humor
133(1)
Visual Metaphor
134(2)
Narrators and Anchors on Camera
136(1)
Ask a Question
137(1)
Television Formats
137(1)
Documentary
138(1)
Vox Pops
138(1)
Logical Argument in Documentary Narrative
139(1)
Graphics
140(1)
Visual Seduction
140(1)
Interview
141(1)
Case Histories
141(1)
The Story of a Day
141(1)
Writing the Corporate Treatment
142(1)
Script Formats for Corporate Videos
142(1)
Length, Pacing, and Corporate Style
143(1)
Writing Voice Commentary
143(1)
Developing the Script with Client Input
144(1)
Selling Creative Ideas
144(1)
Working with Budget Limitations
144(1)
Conclusion
145(1)
Exercises
145(2)
7 Documentary and Nonfiction Narrative
147(20)
Documentary Comes First
147(2)
Truth or Fiction
149(2)
Scripted and Unscripted Approaches
151(1)
Research and Formulating a Theme
152(1)
What Is the Role of the Writer?
153(1)
The Proposal
153(1)
The Treatment
153(1)
Types of Documentary Technique
153(1)
Reportage
154(1)
Observation
154(1)
Reality Shows
154(4)
Interviews
155(1)
Investigative Documentary
155(1)
Faux or Pseudo Documentary
156(1)
Narrative Documentary
157(1)
Dramatized Documentary
157(1)
Expository Documentary
158(1)
Propaganda
158(1)
Other Documentary Applications
159(2)
Expedition Documentary
159(1)
Travel Documentary
160(1)
Documentaries about the Making of Feature Films
160(1)
Wildlife Documentary
160(1)
Writing Commentaries
161(1)
Narrative Voice-Over and Postproduction
161(4)
Wall-to-Wall Commentary
162(1)
Commentary Counterpoint and Commentary Anchors
162(1)
Dual Commentators
162(1)
Commentary Cliches
163(1)
On-Camera/Off-Camera Combinations
163(1)
YouTube
164(1)
Conclusion
165(1)
Exercises
165(2)
Part 3 Entertaining with Visual Media 167(112)
8 Storytelling
169(24)
Why Do We Tell Stories?
169(1)
What Are Stories?
170(1)
Why Do We Need Stories?
170(1)
How Does Storytelling Come about?
171(1)
How Do We Respond to Storytelling?
171(1)
Archetypes
172(5)
The Hero
174(3)
How Do We Tell Stories?
177(1)
Theories about Images and Meaning
177(4)
Semiotics
177(1)
Deconstruction of Meaning
178(3)
Signs and Symbols
181(2)
When Does a Sign Become a Symbol?
181(1)
Symbols in Movies
181(2)
Parables
183(1)
Allegory
183(1)
Subtext in Storytelling
183(8)
The Archetypal Scenarios
185(5)
David and Goliath
186(1)
The Garden of Eden
186(1)
The Foundling
186(1)
The Outcast
187(1)
The Apocalypse
188(1)
Mistaken Identity
188(1)
False Accusation
188(1)
The Quest
189(1)
Monsters
189(1)
The Play within the Play
190(1)
Who Are the Storytellers?
191(1)
Conclusion
192(1)
Exercises
192(1)
9 Visual Storytelling: Structure and Form in the Screenplay
193(26)
The Three-Act Structure of Little Red Riding Hood
194(4)
The Formation of Three-Act Story Structures
198(4)
The Premise
199(1)
Tag Line
200(1)
Concept
201(1)
Writing a Movie Treatment
202(1)
Scene Outline
203(1)
Screenplay
204(1)
Master Scene Script Format
205(1)
Scripting Software
205(1)
Shooting Script
205(1)
Other Narrative Structures
206(11)
The Cooler
207(3)
Thirteen
210(3)
The Flashback
213(2)
Story Engines
215(2)
Conclusion
217(1)
Exercises
217(2)
10 Writing Techniques for Long-Form Scripts
219(36)
Characters and Character
220(1)
Dialogue and Action
221(4)
Plot or Storyline
225(1)
Comedy
226(5)
Comic Devices
226(1)
The Comic Character as Victim
227(1)
Verbal Comedy
227(1)
Running Gag
228(1)
The Visual Gag
228(1)
The Cover-Up/Impersonation
229(1)
Disguise and Mistaken Identity
230(1)
Dramatic Irony
231(1)
Drama
231(6)
Cover-Up/Mistaken Identity
232(1)
Disguise
232(1)
Dramatic Irony
233(1)
Ambition/Pride
233(1)
Challenge and Survival
234(1)
Greed
235(1)
Love Gone Wrong
236(1)
Desire/Lust/Jealousy
236(1)
Writing Techniques for Adaptation
237(16)
The Problem of Adaptation
238(1)
Length
239(1)
Point of View
239(1)
Narrative Tense and Screen Time
240(1)
Setting and Period
240(1)
Dialogue vs. Action
241(2)
Descriptive Detail and the Camera Frame
243(1)
Implied Action
244(1)
It's a Wonderful Life
244(4)
Bartleby
248(5)
Conclusion
253(1)
Exercises
254(1)
11 Television Series, Sitcoms, and Soaps
255(24)
The Premise for Series, Sitcoms, and Soaps
256(4)
Drama Series
259(1)
Miniseries
259(1)
Three-Act Structure and the TV Time Slot
260(1)
Using Commercial Breaks
261(1)
Visualizing for the Small Screen
261(1)
TV Dialogue
262(1)
Breaking Up Dialogue
262(1)
Pacing
262(1)
The Beat Sheet
263(1)
Team Writing
264(1)
Hook/Teaser
264(1)
The Series Bible
265(1)
Condensing Action and Plot
265(1)
Target Audience
265(1)
Script Formats for Television
266(1)
TV Comedy and Its Devices
267(6)
Running Gags
267(1)
Visual Gags
267(1)
Insult and Putdown
268(2)
Double takes
270(2)
One-Liners and Laugh Lines
272(1)
Spec Scripts
273(1)
Reality TV
274(1)
New Techniques and Innovations
274(1)
Interactive Television
275(2)
Conclusion
277(1)
Exercises
277(2)
Part 4 Writing for Interactive and Mobile Media 279(78)
12 Writing for Interactive Communications and Interactive Design
283(30)
Defining Interactive
283(1)
Linear and Nonlinear Paradigms
284(1)
Combining Media for Interactive Use
285(3)
Breakdown of Script Formats
288(5)
Branching
289(2)
Flowcharts
291(2)
Storyboards
293(1)
Authoring Tools and Interactive Concepts
293(2)
Finding a Script Format
295(1)
Instructional and Utilitarian Programs
296(1)
Different Writing For Websites
297(3)
Conceptual Writing vs. Content Writing
298(2)
Website Concepts
300(1)
Navigation: The Third Dimension
300(1)
Writing the Interactive Idea
301(3)
Concept
301(1)
Design Document
301(1)
Flowchart
301(1)
Breakdown for Production
302(1)
Text
302(1)
Video, Stills, and Audio
302(1)
Applying the Seven-Step Method
302(1)
Concept
303(1)
Writing to Be Read on the Web
304(2)
E-Commerce and Interactive Distribution
306(1)
Interactive Reference Works
307(1)
Interactive Catalogues and Brochures
308(1)
Education and Training
309(1)
Kiosks
309(1)
Conclusion
310(1)
Exercises
310(3)
13 Writing for Video Games
313(16)
Games, Narrative, and Entertainment
313(2)
Video Games
313(2)
Mobile Games
315(1)
Writing
316(2)
Character in Video Games
317(1)
The Order of Writing
318(5)
Treatment or Overview
319(1)
Describing the World of the Game
319(1)
Flowchart
320(1)
Description of Sub-Quests
320(1)
Character Descriptions
320(1)
Interaction with Non-Player Characters
320(1)
Cut-Scenes
320(1)
Storyboard Script
320(1)
Notes
320(1)
Defining Game Types
321(2)
Graphics vs. Live Action
323(1)
Formats
323(2)
Interactive Games for Training
325(2)
Military Training Games
325(1)
Corporate Training Games
326(1)
Games for Website Engagement
326(1)
Educational Games
327(1)
Conclusion
327(1)
Exercises
328(1)
14 Writing for Mobile Media Platforms
329(28)
Content on Mobile Platforms
329(1)
Antecedents for Mobile Content
330(2)
Video on Mobile Platforms
332(1)
Video and Cell Phone Use
333(1)
Viewing on YouTube from Mobile Platforms Has Increased Dramatically
333(1)
Mobile and Desktop Use Compared
334(1)
The Mobisode
334(9)
Webisodes and New Digital Formats
343(3)
Writing Changes
346(1)
Second-Screen and Multiple Media Concepts
346(2)
What Is Second Screen?
348(5)
"Snackable" Content
353(1)
What Does All This Mean for Writers?
354(1)
Conclusion
354(1)
Exercises
355(2)
Part 5 Anticipating Professional Issues 357(32)
15 You Can Get Paid to Do This
359(30)
Writing for Money
359(1)
Pitching
360(1)
Logline
361(3)
Agents and Submissions
364(2)
Writing for Television
366(2)
Producing and Writing Video Games
368(1)
Ideology, Morality, and Content
369(4)
Emotional Honesty and Sentimentality
373(5)
Truthiness and Consequences
377(1)
Writing for the Corporate World
378(1)
Client Relationships
379(1)
Corporate Contracts
379(2)
Work for Hire
381(2)
Marketing Yourself and Your Work
381(1)
Copyright
381(1)
Work-Made-for-Hire and Freelance
382(1)
Networking, Conventions, and Seminars
383(1)
Resources on the Internet
384(1)
Hybrid Careers
384(2)
The Future
385(1)
Conclusion
386(1)
Exercises
387(2)
Index 389
Anthony Friedmann has an M.A. in English from Harvard University and a B.A. and Ph.D. in English and Comparative Literature from Columbia University, and trained as a filmmaker at the London School of Film Technique. After twenty-one years of writing, producing, and directing film and video, he has taught video production, interactive multimedia, and scriptwriting at various colleges and universities. He continues to do technical writing, write for corporate clients, and develop independent projects for film and publishing. His work ranges from feature films to corporate video for English, American, and French clients. Bartleby, which he wrote and directed, won Special Jury Prize at the San Sebastián Film Festival in 1971. He is a member of the Writers Guild of Great Britain.