Written to be read: Apersonal reflection on screenwriting research, thenand now

Sternberg, Claudia

doi:10.1386/josc.5.2.199_1

Cited by 7 publications

(2 citation statements)

References 4 publications

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“…Senaryo yazarlığı alan uzmanları arasında, senaryo yazarının yaratım ve yazım süreci ile ilgili araştırmalar yapmanın önemli olduğunu, bu edimin 'yazarlık' olarak görülmesi gerektiğini savunanlar da bulunmaktadır (Batty, 2014). Alan yazınındaki son açılımda, senaryoların eser ve metin olarak görülmesi ve bunların sahnelenmek veya çekilmek için olduğu kadar okunmak için basılan ürünler olabileceği yönünde görüşler ortaya konmaktadır (Sternberg, 2014).…”

Section: Wwwturkishstudiesnet/turkishstudiesunclassified

Senaryodan Filme Çeviri/Uyarlama

Okyayuz¹

2023

TurkishStudies

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In a globalized world, several products or works are now produced from one product or work. For example, a movie or TV series of a book is made, an animated version of a video game is produced and all these products are presented to the relevant buyers in an interconnected manner. Buyers have become so used to seeing such products that they have accepted this phenomenon as part of popular culture. As explained in the article, all these new product creations, software and the like are essentially based on the act of transmission, which is dealt with comprehensively in translation and constitutes the core of the discipline. The article, which blends the fields of translation studies, language studies, adaptation studies, film studies and screenwriting, examines the script and film A.R.O.G., respectively published and directed by Cem Yılmaz, at the intersection of translation studies, adaptation and film studies, and the concepts of self-translation, intralingual translation and rewriting, within the framework of a model inspired by many different disciplines. While the introduction explains the necessity of such studies, the definition and nature of the screenplay text are discussed in the second section. A broad theoretical framework that brings together concepts from many disciplines is presented in the next section. In the review section, the texts mentioned above are analyzed comparatively and some selected examples are presented to clarify the issue. The discussion section interprets the findings of the analysis and the conclusion highlights the importance of such multidisciplinary studies by underlining the issues emphasized since the beginning of the article.

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Section: Wwwturkishstudiesnet/turkishstudiesunclassified

Senaryodan Filme Çeviri/Uyarlama

Okyayuz¹

2023

TurkishStudies

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“…Jennine Lanouette stresses that this book is "the first manual to take screenwriting seriously as a dramatic form, because previous screenwriting manuals, with titles like How to Write a Photoplay, focused more on film technique than dramatic technique" (Lanouette, 2012). Lawson's is a manual oriented toward elevating screenwriting as a literary product rather than a commercial one, something previously only done with theater scripts (Koivumäki, 2010;Sternberg, 2014).…”

Section: A Single Area Of Artistic Creationmentioning

confidence: 99%

«Strong Curtains» and «Dramatic Punches»: The Legacy of Playwriting in the Screenwriting Manuals of the Studio Era

Chiarulli

2021

Communication & Society

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The Hollywood Golden Age was a revolutionary moment in the history of cinema and is pivotal to understanding the historical passage of a peculiar new art form –screenwriting. This early film period, from the Tens to the Sixties, was determined by key interactions between the respective forms of cinema and stage. Together, these interactions form a wider screenwriting “discourse.” There are reoccurring disputes in film scholarship over the paternity of the conventions and techniques of screenwriting. One solution is that techniques of theatre playwriting persisted extensively in the production practices of classical Hollywood cinema. Whether or not its professionals were aware of this is at the heart of this dispute. It is possible to identify the contribution of screenwriting manuals from Hollywood’s Golden Age toward the standardization of screenwriting techniques. The article aims to examine in the screenwriting manuals of this period some statements by practitioners who document the normalization and codification of the narrative structures used in screenwriting over time –in particular, the three-act structure. The validity and origin of the three-act structure are constantly debated among screenwriters. While this formula was known to the early writers of the Silent Era due to its legacy throughout centuries of playwriting and literature, it reappeared in the Seventies in the guise of a new theory. This article attempts to fill in certain gaps in the history of the theorization of screenwriting practices by juxtaposing statements found in screenwriting manuals and the statements of scholars and educators of this field. Ultimately, narrative conventions belonging to the tradition of theatre, as well as technological exigencies were integral in shaping the cinema techniques in use today.

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Screenwriting as a Mode of Research, and the Screenplay as a Research Artefact

Batty

Baker

2017

Screen Production Research

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Written to be read: Apersonal reflection on screenwriting research, thenand now

Cited by 7 publications

References 4 publications

Senaryodan Filme Çeviri/Uyarlama

Senaryodan Filme Çeviri/Uyarlama

«Strong Curtains» and «Dramatic Punches»: The Legacy of Playwriting in the Screenwriting Manuals of the Studio Era

Screenwriting as a Mode of Research, and the Screenplay as a Research Artefact

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