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One of the main drivers of acting creatively is people's belief that they can do so. Yet, most of the previous work on creative self-concept takes a domain-general perspective, telling us little about whether domain-specific interventions or activities can build people's creative self-perception. This paper specifically considers the domain of screenwriting to investigate and enlighten the debate in the area. We analyze the impact of an intervention focused on the development of creative self-efficacy and creative personal identity in an undergraduate screenwriting course at the Griffith Film School, Griffith University, Australia. The intervention, scaffolded by a creative metacognitive framework was an integral part of the course and was delivered by a Creativity Coach. Our results suggest that enrolling in an intensive and elective screenwriting course which included targeted teaching and self-reflection about creativity and the creative process, significantly improved participants' creative personal identity (valuing creativity) and creative performance, with no effect on their creative self-efficacy. We discuss the theoretical and practical implications of our findings and provide recommendations for future research. [ABSTRACT FROM AUTHOR]

The article focuses on the initiatives of filmmaker Giorgio Mangiamele to finance his own filmmaking in Australia. He creates a project called "The Lonely Side of the Road" and submitted it to the Australian Film Development Corp. (AFDC) in July 1971. He enlists writers Barry Oakley and Robert Dalvean for writing the full script of the project and convinces the AFDC on the viability of the project. He also presents another project, originally called "A Game of Chess" and re-titled to "The Losing Ground," to the Victorian Film Corp. (VFC).

Deals with screenwriting and screenwriters in Australia. Place for people who have been damaged by what life has to offer; Manipulation of emotion in every scene; Screenwriters' knowledge of films; Absence of dynamism in the industry; Skills required for a screenwriter to survive in Australia; Need for distributors to be made aware of digital works.