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Responding to recent calls in sociolinguistics and social semiotics to study the material, technological and embodied features of writing, this article examines Chinese users' experiences and practices with the emergent technology of bullet comments on Bilibili, a major video-sharing platform and breeding ground for online subcultures. As one of the first studies based on in-depth interviews with its long term users, this article demonstrates that the unique design of bullet comments, by inserting writing into a moving screen, creates multimedia, multimodal semiotic affordances, reinforces "participatory spectacles," and facilitates powerful multisensory, bonding experiences similar to the (secondary) orality culture. Users' diverse range of adaptive and creative practices, which resemiotize available linguistic, visual and cultural resources to create new meaning-making possibilities, are analysed. Considering the recent "desubculturization" of Bilibili and its increased interactions with mainstream culture and the state media, this timely study is well positioned to capture users' observations about this transition, and assess potential impacts on their experiences and writing practices. It is pointed out that the new synergy of youth nationalism and the technology of bullet comments reflects the complex interplay between writing as a technologized social-semiotic practice, and the wider social, cultural and political conditions. [ABSTRACT FROM AUTHOR]

The article delves into the history of Chinese film remakes, tracing their evolution from the early twentieth century to the present day, emphasizing the intertextual nature of filmmaking practices across national boundaries in East Asia. It also discusses the influence of Hollywood on Chinese cinema, particularly in terms of narrative structures, character types, and visual storytelling techniques, highlighting the complex dynamics of cultural exchange and adaptation in the film industry.

This essay presents a little-known chapter in the film history of the Federal Republic of Germany. Alfred Andersch, founding member of Gruppe 47 and influential broadcast editor, was one of the few authors who was intensively involved with film. The essay reconstructs Andersch's attempt to associate film and literature and thereby develop an alternative concept to the European cinéma des auteurs. To this end, the essay discusses not only Andersch's critical writings but also a number of documents from his estate. Andersch's film theory is evaluated in light of the contemporary literary debate on the medium. His screenplays for the adaptations of his novels Die Rote and Die Entwaffnung are used to examine the conclusions Andersch drew regarding film aesthetics in his own poetics of screenwriting. In sum, the essay reconstructs Andersch's attempt at a literary response to the crisis of West German film around 1960. [ABSTRACT FROM AUTHOR]

Filmmaking in the Pacific region is growing, with increasing numbers of films made in and about the region. Pacific filmmaking carries multiple forms of agency: it can redress colonial framings of the region, contribute to diversifying small island economies and support the diversity of cultural expression. However, little attention has been paid to gender in Pacific filmmaking. This article presents a quantitative gendered analysis of filmmakers in key behind-camera roles in films screened at the Pasifika Film Festival over three iterations of the festival. Our results indicate that while there are fewer women than men working as directors, scriptwriters, producers and cinematographers, those inequalities appear to be declining. However, more women work on short films and documentaries with smaller budgets, and fewer women have IMDb profiles. Further research could address gender diversity, intersectionality and the nuances of gendered agency in different filmmaking contexts. [ABSTRACT FROM AUTHOR]

The article focuses on the screenplay's 'afterlife', as a (re-)creative product of captioners and a text for reading by the d/Deaf and Hard of Hearing (DHH) audience. In particular, it explores captioning practices that textualize aspects of the soundtrack crucial to screenplay meanings. Close study of horror series Stranger Things (ST, Netflix) and The Last of Us (TLoU, HBO) reveals how their closed captions represent the end in a unique chain of mediated translations between the script's written word, the media form's soundtrack and the captions' screen text. Comparing ST Season 4, Episode 9 with TLoU Season 1, Episodes 3 and 6 uncovers the different approaches to captioning music and sound effects adopted by captioners. Moreover, juxtaposing the ST Episode 9 music and sound captions with its screenplay by the Duffer Brothers discloses the considerable gap between screenplay and captioned text, which argues for the significant contributions of captioners to media meanings initially created by screenwriters. [ABSTRACT FROM AUTHOR]

Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in past screenplays, sounds can again be written side by side in tandem with yet independently from images. Finally, the article makes original emendations to the classical master scene format for writing dominant sounds that fill a scene as well as indications for movie music. At a time when both film production and the screenplay itself are being transformed, this essay rejuvenates both film scholarship and practice by bridging historical traditions with practical innovations for screenwriting sound. [ABSTRACT FROM AUTHOR]

Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production – the screenplay – has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed limited interest in the acoustic dimensions of film, creating a research gap where film music studies intersect with screenwriting studies. This Special Issue aims to address this gap by emphasizing the screenplay's importance in comprehending the role of sound and music in film. This introduction showcases the diverse ways in which music and sound are integrated into screenplays. The ongoing exploration of screenplays for the analysis of sound and music sets the stage for future research endeavours. The editors and authors of this Special Issue advocate for the screenplay as a valuable resource in film music studies, providing innovative insights into the film production process. [ABSTRACT FROM AUTHOR]

In this article, I analyse sound and music in two unfilmed screenplays written by filmmakers Sergio Person and Jean-Claude Bernardet: SSS against Jovem Guarda (1966) and The Plague of the Ruminants (1967). Why would two leading figures of the politically engaged Cinema Novo jump into a commercial project with the 'alienating' leader of the Americanized Jovem Guarda? Their next project, The Plague of the Ruminants, contested the dictatorship. Inspired by magical realism, it would use Hollywoodesque fantastic spectacle. Through interesting interventions on the soundtrack, Person and Bernardet subtly denounced Jovem Guarda's support for the military regime. This ironically contrasts with the soundtrack to SSS against Jovem Guarda. The article contributes to studies of sound and music in screenplays. I analyse different aspects pertaining to sound and music, compare these screenplays to other completed film projects by Person and Bernardet and place them in the context of Brazilian culture and politics. [ABSTRACT FROM AUTHOR]

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 Ballad of Cable Hogue" which is a1970 American Technicolor Western comedy film directed by Sam Peckinpah. It mentions Peckinpah's Western films began to receive serious attention shortly before his death in 1984. It also mentions he started out with a very good screenplay by John Crawford and Edmund Penney and compelling characters, emotional resonance, and historical significance.

This paper contains a case study of original creative historical screenwriting and its theoretical underpinnings. The creative writing component visualises the 'true' story of the Coolgardie Water Supply Scheme under construction in 1902 in Western Australia. It functions as an additional 'layer' to my previously published paper, 'A Process of Screenwriting: A Film Treatment for "The Engineer-in-Chief"', (Meneghello, Rethinking History, 2021). The theoretical component explores my own creative process of writing an artwork history as a filmic and poetic interpretation of history containing emotional subtextual meanings. I ask the question: How can archival richness and complexity be communicated in screenwriting beyond the restrictive form of the 'script'? The aim of the essay is to describe how pursuing creative historical research has led me into screenwriting innovation. I do this by synthesising screenwriting theory and practice to consider how the film treatment is an underestimated tool of script development. I draw on the field of artwork history, incorporating the metaphor and imagery of the 'archaeological gaze' and cardiovascular biomechanics to bridge the gap between creative historical writing and screenwriting innovation. Drawing on Indigenous Studies, I show how my innovation honours both the collaborative dimensions of filmmaking as well as the importance of including absent and diverse voices from the historical record. This interdisciplinary framework supports the argument I make for conceptualising the film treatment in the form of 'layers'. This new approach to screenwriting is particularly useful for researchers to test and experiment how facts can be translated using visual imagery and literary techniques into a cinematic rendering of a 'true story'. My creative research thus has implications for the fields of both artwork history and screenwriting by enhancing the traditional screenplay format, and also contributes to historiography through the generation of new insights into how form shapes content and meaning. [ABSTRACT FROM AUTHOR]

Frances Kavanaugh's story paints a different picture of 1940s Hollywood screenwriting than most academic histories. Fondly remembered as the 'Cowgirl of the Typewriter' by fans and aficionados of the American West, Kavanaugh wrote around thirty B Westerns for companies like Monogram and Producers Releasing Corporation. While more traditional scholarly studies will glance over her contributions, evidence of Kavanaugh's Hollywood career can be found in the Writers Guild of America (WGA)'s records, multiple museums' collections, periodicals and trades, as well as the recollections of her family and those who knew her. Through these sources popular histories provide us with a version of the American film past that helps us more productively imagine women's work therein. [ABSTRACT FROM AUTHOR]

In May 1962 Agatha Christie completed a rough draft of a screenplay that adapted Charles Dickens' novel Bleak House. The intention was that the film would be produced by MGM, which at the time was adapting Christie's own works for the screen. This article looks at the surviving material related to the unrealised project and considers what it tells us about Agatha Christie and film adaptations. The previously unexplored surviving material includes correspondence and the film's draft screenplays and film treatments, which all offer an insight into how Agatha Christie considered that a novel could be adapted for cinema screens. This is of particular interest because Christie did not write for the screen at any other point in her career, and was also sharply critical of most adaptations of her work. Therefore, this material gives an indication of how Christie felt adaptations should operate. This article looks at the context of the film project, Christie's screenplay writing process, and finally the contents of the scripts. [ABSTRACT FROM AUTHOR]

The article focuses on how Céline Sciamma uses screenwriting to underpin her rigorous and uncompromising approach to independent filmmaking. She blends writing and mise en scène in the development stages to repeatedly subvert familiar generic conventions and calls into question what she calls the art of conflict through her distinctive gaze on relationships, femininity, sisterhood, coming of age and gender fluidity. Taking as starting point Sciamma's own analysis of her method of film development in preproduction, the article explores the centrality of screenwriting to her subjective and political approach to artistic creation. The second part of the article explores to what extent her screenwriting for other directors – especially her collaborations with Claude Barras, André Téchiné and Jacques Audiard – has reinforced her method or revealed new facets of her artistic and screenwriting signature. [ABSTRACT FROM AUTHOR]

Using materials from the Kazuo Ishiguro archives located in the Harry Ransom Center in Austin, this article explores Ishiguro's unpublished film-related works – his Japanese ghost documentary film project, scriptwriting experiments for The Remains of the Day, and reviews for films – in close relation to his major novels to reflect on the cinematic influence found in his writing. I argue that his scriptwriting and thoughts about film helped Ishiguro create a type of composite universe in which illusions from individual memory and national history reflect each other and where narratives of Japan and Britain are connected with those of the world. [ABSTRACT FROM AUTHOR]

This research mainly explores the connection between Dan Brown’s The Da Vinci Code, with the filmmaker’s cinematic depiction of literature. Ron Howard as an adaptation director in the Hollywood industry is evaluated in the context of his auteurism and examined his approach of repudiating a substantial portion of the Catholic secrets which dodged the predicament of fidelity, a core of conventional Film Adaptation. Disregarding the controversy, fidelity is indeed a deliberate action overtly brought by the auteurist vision resulting from screenwriting. This article explores the modern implications of screenwriting on auteurist function, aiming at how Hollywood’s conception of the director’s auteurism in cinema works and the film’s artistic approaches from the novel to the screenplay. This study illustrates that the adaptation highlights the author’s and his work’s superiority yet emphasises the director’s technique as inevitable during the transposition. [ABSTRACT FROM AUTHOR]

This paper documents the change and reproduction of gender status in the motion picture industry by discussing patterns in protagonist choice and authorship of biographical films produced from 1900 to 2017. The results rely on a quantitative analysis of all 4,539 films on the IMDb platform labeled with the "Biography" tag that portray an individual main character in the selected years. We find that men-only filmmaking teams have been remarkably consistent from 1900 onward in their choice of male subjects, while mixed and women-only teams have driven an increase in the central representation of women as figures whose life is worthy of narration and remembrance. Therefore, the recently increased involvement of women as directors has significantly advanced the symbolic recognition of women in public cinematographic discourse. Our findings document the emergence of a transitional period in the biographical movie industry in which the reproduction of gender status asymmetries coexists with an increased participation of women in filmmaking. [ABSTRACT FROM AUTHOR]

During the Francoist regime in Spain (1939–1975), it was extremely challenging for women to gain visibility in the public sphere and to obtain professional recognition. In the Spanish film industry, women rarely had creative roles. This article focuses on the creative practices of two outstanding female stars, Sara Montiel and Marujita Díaz, who assumed significant control over their films in the 1960s. Our research dialogues with feminist perspectives on female authorship in film history, and with theories about stardom and authorship from the field of star studies to analyze Montiel's and Díaz's creative and industrial strategies to take control of their own careers. The patriarchal pressures they had to overcome evidence the lack of study and cultural legitimization of their creative practices. The recovery of these silenced stories contributes to contemporary debates about female stars and power in film industries. [ABSTRACT FROM AUTHOR]

In recent years, the increased take up of game engines in the context of emerging and traditional screen media production has fostered innovation across formats. Game engines present an opportunity to author immersive projects that draw upon the expertise of experience designers, game developers, screenwriters and other creative practitioners; however, questions arise as to the ways that individuals from different backgrounds might work together effectively on these projects given the varying 'poetics' of their fields. This term, used by Ian MacDonald in the context of screenwriting practice, refers to 'the rationalisation of a mode, or a paradigm, of practice; a collection of perceived norms that make sense together, for those involved in developing a screen idea, in that time and place' (2013, 3). This article explores the development of two screen works created using Unreal Engine, so as to outline the challenges for multidisciplinary teamwork in this area. This article will argue that the successful realisation of these projects called for the development of common ground around this new mode of practice, one fostered through a sharing of boundary objects (Star and Griesemer 1989), expertise and through listening to participant concerns. [ABSTRACT FROM AUTHOR]

This paper analyzes Sergei Eisenstein's essay "The Form of the Script" (1929), focusing particularly on its publication and translation history. It reconstructs the missing parts and the logic of the essay based on its original Russian print and an early German translation. In so doing, the paper clarifies Eisenstein's position in the debates surrounding the various forms and formats of screenwriting. It additionally draws attention to the role of rhythm in Eisenstein's screenwriting theory and in his essayistic writing. Finally, this article offers a new translation of "The Form of the Script," which brings the essay as close as possible to its original publication. [ABSTRACT FROM AUTHOR]

This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film. Engaging feminist historiography, screenwriting studies, and sound studies, I argue that Marion's expressive use of narrativized sound in both sound and silent scripts was remarkably innovative, yet underappreciated. Her skillful use of integrated sound helps account for her success in the early 1930s and aligns with the style of sound filmmaking that later came to dominate. [ABSTRACT FROM AUTHOR]

Popular narratives can have a significant cultural and persuasive impact. Audience identification with a protagonist and liking of the protagonist are two important types of audience engagement. The present study proposes that character motivations play a central role in the establishment of both identification and liking. Two typologies of motivations are tested (one from a hierarchy of psychological needs perspective, and the other from the professional field of screenwriting) as predictors of dynamic fluctuations in audience identification and liking. Three professional screenwriters served as "expert coders" of three randomly selected films and identified key moments that were of particular importance for establishing character motivation. N = 308 participants viewed the first 35 minutes of one of the three films and provided real-time ratings of either liking or identification. Results indicated that the establishment of character motivations does indeed have a major impact on shaping identification and liking in real time. [ABSTRACT FROM AUTHOR]

The article analyzes the film "The Grand Budapest Hotel" directed by Wes Anderson. It further discusses the concept of film authorship and an explanation for why the contemporary use of auteur theory to analyze the work of Anderson; relationship between reality and fantasy; film theorist and philosopher Stanley Cavell; the central role of "Boy With Apple", Renaissance-style portrait, in the film; and male characters in Anderson's films like "Bottle Rocket", "The Life Aquatic" and "Rushmore".

One of South America's most popular poets, Alfonsina Storni is primarily known for verses of love and passion. During her lifetime, Storni also wrote as a newspaper columnist under the pseudonym Tao Lao. Storni's association with film has primarily been discussed as part of her friendship with author and cinephile Horacio Quiroga but translations and analyses of Storni's film-poems, mainly composed in the last decade of her life, show that she was experimenting in a fusion of verse and cinema. Drawing on the proliferation of consumer products bringing film and photography into everyday life in Argentina in the 1920s and 1930s, Storni's film-poems blend word and image through the photochemical properties of the film medium and the spatial and temporal techniques of motion pictures. While Storni's biographers have classified some film-poems as falling within the reportage genre of the chronicle (crónica), these multimedia experiments work problems of subjectivity and objectivity intrinsic to the time-based approach of the chronicle through filmic technologies, while also interrogating constructs of gender and colonial power that were deeply embedded in the visual culture of South America in the 1920s and 1930s. [ABSTRACT FROM AUTHOR]

Current situation: The Young Sonographers e-learning was created in 2017 and contains the theoretical content and the procedure for the practical examination technique of the basic course on abdominal ultrasound. In order to provide an optimal teaching tool for ultrasound training in Switzerland in the future, this e-learning material has now been revised. Methodology: The feedback from various experts as well as from participants, tutors and examiners served as the basis for the revision. Results and discussion: The feedback revealed five categories that needed adaptation: the structure of the examination procedures, the coherence between text and video, the reasonable use of video versus written text, the accurate naming of acts and tools and the quantitative balance of the module structures. After revision of these weak points, new scripts were written and filmed as video recordings. The digitally optimized implementation on the website is still under construction at the time of publication. [ABSTRACT FROM AUTHOR]

Although researchers have investigated technical adequacy and usability of written-expression curriculum-based measures (WE-CBM), the economic implications of different scoring approaches have largely been ignored. The absence of such knowledge can undermine the effective allocation of resources and lead to the adoption of suboptimal measures for the identification of students at risk for poor writing outcomes. Therefore, we used the Ingredients Method to compare implementation costs and cost-effectiveness of hand-calculated and automated scoring approaches. Data analyses were conducted on secondary data from a study that evaluated predictive validity and diagnostic accuracy of quantitative approaches for scoring WE-CBM samples. Findings showed that automated approaches offered more economic solutions than hand-calculated methods; for automated scores, the effects were stronger when the free writeAlizer R package was employed, whereas for hand-calculated scores, simpler WE-CBM metrics were less costly than more complex metrics. Sensitivity analyses confirmed the relative advantage of automated scores when the number of classrooms, students, and assessment occasions per school year increased; again, writeAlizer was less sensitive to the changes in the ingredients than the other approaches. Finally, the visualization of the cost-effectiveness ratio illustrated that writeAlizer offered the optimal balance between implementation costs and diagnostic accuracy, followed by complex hand-calculated metrics and a proprietary automated program. Implications for the use of hand-calculated and automated scores for the universal screening of written expression with elementary students are discussed. [ABSTRACT FROM AUTHOR]

An ethnographic experience in a compound —a compound surrounded by security measures and physical, political, and bodily barriers in which a group of people of different nationalities live and/or work— in Saudi Arabia exposes the anthropologist to methodological constraints in conducting gender-sensitive anthropological research under the country’s authoritarian regime. The purpose of this article is to explore new tools for both data collection and data return, as ethnography in restrictive contexts. The fieldwork was conducted between 2011 and 2016 in the KAUST compound, a science and technology university created to diversify Saudi Arabia’s economic model under a restrictive and authoritarian social context. In this article, the researcher experiments with writing a film script in order to respect the anonymity and security of those involved in the research, and at the same time to reflect her double role as subject and object of study, as a researcher and as a Kaustian belonging to the group. The article depicts the film script, on the one hand, as a methodological guide drawn up during her stay at the site; and, on the other, as a creative ethnographic non-fiction text framed in a feminist strategy of resistance pursued by the anthropologist in the face of Saudi social and cultural hegemonic patterns. Although the proposal is situated in a specific ethnographic context that serves as a reference case, this article presents the film script as a multidisciplinary methodological approach applied to ethnography, which combines academic training in anthropology and the artistic expression of scriptwriting. This allows for reflection on methodological strategies applicable to other fields that, to a greater or lesser extent, respond to similar objectives and/or problems, as well as on the different approaches to scholarly communication. [ABSTRACT FROM AUTHOR]

While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today's parlance—be termed life coach. [ABSTRACT FROM AUTHOR]

This article examines the formulation and impact of British film policy concerning the unification of European film industries from the immediate post-war era to the end of the 1970s. It focuses on the activities of the Board of Trade, which was instrumental in determining British policy responses to integrationist film movements in Europe as well as the broader process of European unification. Various schemes to pool filmmaking resources and remove trade barriers emerged on the continent, both within and outside the EEC. Some depended on intergovernmental cooperation while others called for the creation of supranational bodies, which would govern film production and trade. Concurrently, the proliferation of film co-production treaties bound the major filmmaking nations of Europe into close practices of cooperation. As this article shows, the UK government stood at the margins of Europe's intergovernmental film diplomacy, assuming a defensive, protectionist position which reflected British resistance to supranational governance. [ABSTRACT FROM AUTHOR]

The reflections on screenwriting in Mexico constitute a tradition that has not been critically reviewed. This article recovers fundamental texts of Mexican writers and teachers in order to analyze their attempts to articulate this practice. The texts oscillate between the poetics, the essay and the didactic manual. A stimulating dialogue arises from interweaving their ideas about the nature of the screenplay, its narrative and dramatic dimensions, the specificity of this type of writing and the creative process. The review begins with El conocimiento cinematográfico y sus problemas (1965), written by José Revueltas and ends with the unpublished book by Beatriz Novaro, El roce de los lenguajes (2013). [ABSTRACT FROM AUTHOR]

This article studies Claude Grenier’s film adaptation of “Le vieillard et l’enfant”, the short story by Gabrielle Roy, including the key stage of the “transformational process”, namely Clément Perron’s screenplay. The article also examines in more detail the unpublished screenplay written by Gabrielle Roy herself and reflects on the relationship between literature and film, as well as the whole question of “transmediatization”. [ABSTRACT FROM AUTHOR]

Innovation in ethics pedagogy has continued to evolve and incorporate other forms of storytelling aimed at improving student engagement and learning. The use of bioethics narratives in feature-length films, medical television shows, or short clips in the classroom has a well-established history. In parallel, screenplays present an opportunity for an active approach to ethical engagement. We argue that screenplays and screenwriting provide a rich supplement to current medical ethics teaching and serve as a strong form of reflective learning. [ABSTRACT FROM AUTHOR]

In the article, the author discusses the screenwriting practices of writers in their efforts to write about dead characters and bring life to them in films and the concept of 'narrative life.' Other topics include the discursive practices of writer and philosopher Michel Foucault, and the distinction between practices of habit and normative practices in writing.

How can documentary as visual research method create a relay between feminist scholarship and the goals of feminist struggle? The use of co-constructed documentary responds to the three key concerns of feminist research: the situated nature of knowledge; the critique of hierarchical knowledge; and the intention towards emancipatory action. In other words, documentary-making opens out from a "discourse of sobriety" or representation of historical truth to encompass material transformative potential not merely through representational instruments but re-organized methods, relationships, and practices which critique documentary's social relations of power. The methodological challenge and opportunity involve the re-framing of documentary participant as collaborator with a stake in decision-making and documentary construction. Taken further, this agenda complicates the notion of documentary authorship and related concepts of creative autonomy, individuality and artist "voice." In this paper, I take up these questions to argue that dialogic authoring in contemporary art theory and practice drawing upon Mikhail Bakhtin and Grant Kester) provides the theoretical foundation of an interactional concept of art generated between co-participants. [ABSTRACT FROM AUTHOR]

This article explores the complexities of film authorship in relation to the 1972 film House Made of Dawn. Produced and directed by Richardson Morse, a non-Indigenous director, House Made of Dawn occupies a somewhat awkward position within scholarship on Indigenous Cinema. Using the film as a case study, this paper draws on Barry Barclay's idea of Indigenous Cinema as the camera in the hands of Indigenous filmmakers to unpack notions of film authorship. The paper suggests that the answer to the question of who holds the camera is not always a simple one by drawing on interviews between Joanna Hearne and key figures in the filmmaking team of House Made of Dawn. In particular, this article argues that determinations of authorship must also consider the film's source text by Kiowa author N. Scott Momaday as well as the input of lead actor Larry Littlebird. Failure to consider these forms of authorship serves to undermine Indigenous approaches to storytelling in favour of a Western model and subsequently undermines the input of the Indigenous authors of the film. [ABSTRACT FROM AUTHOR]

Since artificial neural networks were applied to machine translation (MT) programs such as Google Translate and Papago, their quality of translation has improved dramatically. It leads to the consideration of MT as a pedagogical tool for teaching and learning English. In this regard, this study observed and analyzed eight Korean EFL young adults' English writing processes using Google Translate and Papago in real-time. To explore when and how they exploited MT in completing a narrative essay, a qualitative method using screen recordings of writing sessions and retrospective interviews was implemented. The findings revealed three most representative instances among many others that the participants utilized MT to resolve difficulties in English. Moreover, those instances are closely related to self-judgment the writers constantly made. Self-judgment is an inevitable process for the writers to incorporate MT output in their writing. In the process of self-judgment, English abilities and knowledge the writers possess might play significant roles to accept appropriate MT outputs. The results of the present study also indicate that the participants, albeit a small number, preferred Papago over Google Translate based on their assumptions in accuracy and usefulness. Finally, some implications and limitations drawn from these results were also discussed. [ABSTRACT FROM AUTHOR]

This article draws on the 2018 Writers Guild of Great Britain report 'Gender Inequality and Screenwriters', and original interviews with female screenwriters, to assess how the experience of genre plays out in the UK television industry. The report focuses on the experience of women, as a single category, but we aim to reveal a more intersectional understanding of their experiences. Our aim is to better understand the ways in which women are, according to the report, consistently 'pigeonholed by genre and are unable to move from continuing drama or children's programming to prime-time drama, comedy or light-entertainment'. Considering the cultural value of genre in relation to screenwriting labour and career progression, we analyse how genre shapes career trajectory, arguing that social mobility for female screenwriters is inherently different and unequal to that of their male counterparts. [ABSTRACT FROM AUTHOR]

In a manuscript from 1923 titled Die Rubine Sutherlands , Felix Dörmann revised his typescript with the subtitle "Film in Worten." This article deploys Dörmann's marginalia as an invitation to test his notion of a "a fi lm in words." As an author often caught between artistic forms ranging from poetry to prose and drama, Dörmann's cinematic experiments reveal his interest in exploring the technological and representational possibilities offered by the new medium. Drawing on the interplay between his best- known surviving film fragment, Die Zirkusgräfin (1912), and Die Rubine der Sutherlands as case studies, the implicit conception of cinematic writing that emerges in Dörmann's work offers a concrete basis for considering the influence of early Austrian cinema on the aesthetic imagination of late Austrian modernism. [ABSTRACT FROM AUTHOR]

This paper discusses the teaching of screenwriting and storytelling in terms of art and craft. It argues that since Romanticism established itself in the 19th century as the dominant Western view on art and culture, it has driven a wedge between people's notions of art and craft, promoting the former and demoting the latter. This rift has impeded the teaching of screenwriting and storytelling in general. Following this, art historians and sociologists of art have suggested developing a "third system of art," one that reintegrates the artist and the artisan, the art and craft-based values. This essay develops the basic tenets of a "technical approach" to the teaching of screenwriting. This technical approach sits in-between a Romantically biased "free-wheeling" approach and a mechanistic, "rule-based" approach. It is argued that a technical approach to screenwriting or storytelling could help materialize such a "third system of art" and benefit the practice, teaching, and study of screenwriting and storytelling. [ABSTRACT FROM AUTHOR]

The main objective of this study was to analyze what writing measures, or combination of measures, would be most appropriate for early detection of students at risk of presenting future difficulties in learning to write in Spanish, in terms of tasks, scoring indices (dependent, independent and accurate-precision) and duration. A sample of 231 first graders was scored through IPAE (Indicadores de Progreso de Aprendizaje en Escritura [Indicators of Basic Early Writing Skills]), a curriculum-based assessment, in fall, winter, and spring. The students were classified as at-risk or not at risk based on a standard instrument (EGWA, Early Grade Writing Assessment) administered to them in spring. The predictive usefulness of the IPAE measures and their diagnostic accuracy were analyzed using the ROC Curve and binary logistic regression. The results suggest that dictated arbitrary spelling, dictated rule-based spelling, and dictated nonsense words could be an effective single measure to be used as a universal screening in the first stage of a two-stage gated screening procedure. A combined measure that includes a combination of these tasks and allographs in 1 min and dictated sentences can be efficient in a second stage. [ABSTRACT FROM AUTHOR]