Disentangling the screen idea

Macdonald, Ian W.

doi:10.1386/jmpr.5.2.89/0

Cited by 36 publications

(12 citation statements)

References 3 publications

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“…In the field of screenwriting research, the idea of understanding the process of screenwriting as structured around a screen idea comes out of the work of Ian Macdonald (2003Macdonald ( , 2004Macdonald ( , 2010Macdonald ( , 2012. Building on a term used by Philip Parker to describe the start of a script's development (1998, p. 57), Macdonald has outlined how to think of a screen idea as 'the core idea of anything intended to become a screenwork, that is "any notion of a potential screenwork held by one or more people.…”

Section: The Screen Idea System Frameworkmentioning

confidence: 99%

The Creative System in Action

McIntyre¹,

Fulton²,

Paton³

2016

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Section: The Screen Idea System Frameworkmentioning

confidence: 99%

The Creative System in Action

McIntyre¹,

Fulton²,

Paton³

2016

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“…(Nelmes 2010, 1) The academic interest in screenplays and screenwriting has increased in the last decade thanks to scholars like Ian Macdonald, Steve Maras and Jill Nelmes. These three academics, among others, argued that there was a need for more screenplay research because the popular screenwriting manuals 'are not enough' to allow for a rigorous critical understanding (Macdonald 2004, in the title). The issue emerged because 'a handful of these books are actually best sellers' (Conor 2011, 126).…”

Section: Screenplay Theory: the Academic Move Beyond Screenwriting Mamentioning

confidence: 99%

“…According to Mittell, that aim is fulfilled in 'definitional accounts', but critical theory has long questioned whether definitions are fixed or whether they are mediated by the discourses and the cultural sites where terms operate. As a result of this, screenwriting manuals have been criticised as 'low theory' (Macdonald 2004) in academic circles, because they oversimplify the description of the screenplay and of the process of screenwriting.…”

Section: Screenplay Theory: the Academic Move Beyond Screenwriting Mamentioning

confidence: 99%

Screenplay Discourses: Bridging the Screenplay-Film Divide

Moreno¹

2014

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This article suggests that screenplay studies should pay more attention to the meaning that screenwriting and the screenplay are given around, and after, the release of finished films. A review of existing screenwriting and screenplay theory reveals that in the past ten years there has been a tendency to reconsider these terms, relating them to the contexts in which they are culturally operative. Nonetheless, these new academic approaches primarily attach the study of screenplays to films’ development and pre-production, although the term is discussed and used significantly in contexts other than film development. This article identifies different sites where screenplay discourses emerge from finished films, and I argue that it is necessary to study these sites in order to understand how they contribute to current ideas about the screenplay. On the basis that both finished films and published screenplays generate screenplay discourse outside the development and pre-production of films, I contend that each iteration of the screenplay has its particular function. In light of this, no form of the screenplay should be considered subsidiary in screenplay studies, and this includes screen-idea documents, released films and published screenplays. The uses of the different screenplay forms range from commissioning financiers to gaining awards at festivals and securing press reviews to facilitating screenwriting pedagogy. Therefore, it is important to take screenplay studies beyond pre-production stages to better understand the roles of screenplays within contemporary film culture and film studies.

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“…Los estudios sobre Poética y Teoría de la Representación en la ficción audiovisual se han abordado desde distintos enfoques y planteamientos. El más sugerente es sin duda el rescate de la Poética de Aristóteles (Ricoeur, 1975(Ricoeur, , 1983(Ricoeur, , 1987, actualizado y aplicado al lenguaje audiovisual (García-Noblejas, 1982, 1996 y llevado como novedad al ámbito de la práctica industrial, a través de la teoría del guion, "the screenwriting theory", con una clara recuperación del concepto de unidad de acción, "the screen idea", del tema y del sentido (Macdonald, 2003(Macdonald, , 2013Brenes, 2011Brenes, , 2016; esa misma línea de investigación -y poniendo a dialogar otras obras de Aristóteles como el Órganontambién ha dado como fruto un estudio sobre el origen y las consecuencias poéticas de la "falacia dramática" en la ficción televisiva y cinematográfica; a causa de las intromisiones de la industria y de los factores contextuales en la escritura del guión, se producen discordancias y alteraciones de su sustrato lógico, rompiendo así la unidad diegética de la historia (Gutiérrez, 2008;Torrado, 2017).…”

Section: Introductionunclassified

El concepto de relación. Consideraciones epistemológicas sobre el valor cognoscitivo de la ficción.

Delgado¹

2018

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RESUMEN:Este artículo desarrolla la categoría de la relación, según la describe Aristóteles en su Órganon, con el fin de establecer un fundamento cognoscitivo de la ficción audiovisual, en el contexto del debate acerca del referente, puesto en crisis por algunas teorías como el estructuralismo, la semiótica, los Cultural Studies o la narratología. Por otra parte, la aplicación de la relación al objeto audiovisual implica poner en diálogo cuatro obras esenciales de Aristóteles (la Poética, la Ética nicomaquea, el Órganon y la Retórica), privilegiando la naturaleza dramática de la ficción audiovisual sobre la narrativa y subrayando la necesidad y la verosimilitud como los rasgos de la dimensión lógica de las ficciones. En el estudio se revisa el concepto aristotélico de mímesis praxeos, entendido como representación frente a la interpretación limitada de la mímesis platónica, desligada de la "praxis" y descalificada como antifilosófica (por triple degradación de las ideas).Palabras clave: relación; mímesis praxeos; representación; dimensión lógica; razonamiento poético.ABSTRACT: This article develops the notion of relationship described by Aristotle in his Órganon, in order to establish a cognitive foundation for audiovisual fiction. The discussion is framed in the context of a certain contention about the concept of reference, brought into question by theoretical approaches such as structuralism, semiotics, the field of cultural studies, and narratology. Concurrently, the application of the notion of relationship to the audiovisual object implies the creation of a dialogue between four of the essential works of Aristotle (Poetics, Nichomachean Ethics, Organ and Rhetoric), emphasizing the dramatic nature of audiovisual fiction over its narrative quality, while underscoring the concepts of need and verisimilitude as the main traits of its logical dimension. Through this study, the Aristotelian concept of mimesis praxeos is reviewed within the framework of representation, as opposed to the more limited interpretation of the Platonic mimesis, which is separated from praxis and consequently rejected as anti-philosophical (by way of the triple degradation of ideas.)

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Disentangling the screen idea

Cited by 36 publications

References 3 publications

The Creative System in Action

The Creative System in Action

Screenplay Discourses: Bridging the Screenplay-Film Divide

El concepto de relación. Consideraciones epistemológicas sobre el valor cognoscitivo de la ficción.

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