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This introduction to this interview presents Chloé Aïcha Boro, a Burkinabé journalist, writer, filmmaker and screenwriter. Although she started her career as a journalist for La voix du Sahel and Le Marabout in her native Burkina Faso, her love of literature inspired her to write novels and move on to screen writing and directing films. The introduction explores Le Loup d'or de Balolé. The interview focuses on her personal life and the making of her films, notably Farafin Ko and Le Loup d'or de Balolé. She explains the opportunities and challenges she faced during the production of her films, sharing her vision on documentary filmmaking. [ABSTRACT FROM AUTHOR]

Aim. The aim of the research is to compare Konstantin Levin's function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his Þ gure was changed in the film adaptation under the inß uence of the scriptwriter's and director's stance. Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production. Results. The analysis shows that Konstantin Levin's function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the inß uence of the film director during the film production. Conclusions. Even though the study considers the texts that are closely interrelated, the individual author's stance inß uences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word. [ABSTRACT FROM AUTHOR]

An interview with French filmmaker, actor, and screenwriter Jacques Tati is presented. Tati shares how he came up with a film like "Play Time?" and explains why he believes dramatic composition is important when writing a script. He also offers his understanding of the evolution of film comedy. Tati offers his views on critics' reactions to the film "Play Time?" and reveals how he gets his ideas for gags. He also shares where a part of sadness in the film came from.

This article discusses the films of Jacques Audiard from the perspective of the screenwriting process. It evaluates his work as a screenwriter, and the ways in which the development process of his screenplays can inform his cinema and distinctive style. Audiard always writes with collaborators and views the filmmaking process as a team effort. Beyond establishing his own personal signature renewal of the European thriller through complex narratives, Audiard has developed a filmmaking method in which the so-called writing stage seems to extend far beyond pre-production, to influence the shooting, and finally shape the editing process completed in post-production. [ABSTRACT FROM AUTHOR]

So many film critics, film scholars and film historians have taken the concept of author to built some of their proposals, like an interpretative politics or sophisticated textual approaches. The matter which underlies is the next one: the author in cinema, thought as a person or as a textual strategy, makes a film, and that film is finished work. This idea has become the touchstone for any approach to this topic: someone is a film author depending on the films that he makes. The goal is discover another way to review the concept of author in cinema: the filmmaking. [ABSTRACT FROM AUTHOR]

The secret wish of filmmaker Ingmar Bergman to become a writer is evident in at least two ways: (1) his repeated emphatic claims that he did not; (2) his way of sneaking in writing into his films. This article focuses on the latter. Seemingly unrevised and preliminary, textual information takes the shape of letters and notes written and/or read by the characters. When literary passages seemingly do occur (as in, for example,Persona), the quoted text in question is faked. If textual messages are emphasized in Bergman, it is less as literature than as the act of writing, a physical matter of paper, pen, or typewriter. This article investigates Bergman’s writing less in the auteur sense of him writing his own scripts, than in how writing permeates his work to the point where his films could be considered as productive detours. By looking at fictitious acts of writing in his films as well as the author’s own, peculiarly self-reflexive, writing habits insofar they are discernible in the Ingmar Bergman Archives, this article overturns the traditional notion of the screenplay as a kind of half-measure or necessary evil vis-à-vis the film. [ABSTRACT FROM PUBLISHER]

The article presents criticism of the film "La Strada," directed by Federico Fellini. Its distinction as a transitional film that shows the director's evolution in filmmaking is discussed. Topics include how the film is an example of neorealism and how it is a commentary on marital relationships, human friendship, and societal acceptance.

The article explores the creation of the film "Beyond Reason," by Giorgio Mangiamele. The original idea for the film started during Mangiamele's making of "Clay." Mangiamele approaches playwright Oriel Gray to help him write the script for "Beyond Reason" and psychiatrist Daniel Kahans to serve as psychiatric consultant for the film. As the production of the film is completed by the end of 1968, the challenges of trying to find a distributor started, and it is premiered at the Forest Hill Theatre in Columbia on May 21, 1970

The article explores the unrealised projects of filmmaker Giorgio Mangiamele. Film Victoria considers his project "Paranoid" too problematic which led him to abandon the project and accept work as stills photographer on "The Devil in the Flesh," by Scott Murray. Mangiamele is convinced to shelve his other project titled "Jane" due to the assertion of his friend, Gino Millozza, that co-production of the film only happens if the story required filming in Italy and Australia. The updated version of "Jane" entitled "A Cry for the Moon" appears to have gone no further for unknown reasons.

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).

The article discusses the collaborative approach to authorship wherein it sees film style as a creative interaction between multiple figures and institutions in the production and conception of the artistic work. It expands the model of writer Robert Carringer by putting stylistic traits within a specific historical context. It argues that these forms of authorship can be understood as reflective of a specific national or cultural ideology.

In 2001: A Space Odyssey director Stanley Kubrick, as strong personality and as the film auteur, wanted to control all components of film making, including the music. When he didn't use already composed music by Alex North, he gave way to the special usage of previously composed classical music in the film. He changed the usual way of functioning of film music. This put him, the director, to the position of the absolute author: among many things he was doing (controlling screenwriting, editing, set design, acting etc.), he also "composed" the music by selecting musical pieces, deciding where to put them in the film, and, especially, by editing them to the picture. [ABSTRACT FROM AUTHOR]

By analysing the recent work of three of the mainstays of the New Latin American Cinema of the 1960s and 1970s — the Argentine Fernando Solanas, the Cuban Julio García Espinosa, and the Bolivian Jorge Sanjinés —, this article focuses on the notion of film authorship to question these filmmakers' uses of it as a means of lending historical depth and narrative continuity to their careers, which are indissolubly linked to their respective political and ideological agendas. In parallel, and given the persistence of a socially committed Latin American cinema that is manifest not just in the films of such 'classic' directors but also in those of a new generation of Latin American filmmakers, this paper ponders the possibilities and the reach of reading such a cinema from an auteur-oriented critical perspective. Furthermore, given the prominence and importance of film authorship throughout the history of Latin American cinema, the article asks to what extent these directors' recent productions — and indeed the whole 'New Latin American Cinema' project itself — really do constitute a clean break with their previous work, or whether they are simply recycling tried-and-tested strategies. [ABSTRACT FROM AUTHOR]

We can't only be consumers, we must be citizens. This essay argues how audiences should become producers of messages that represent a culture of resistance, from its narrative and aesthetics needs, in order to find a place of sense in a world of screens. Hence, new audiences stop being just consumers to get the status of producers of their own screens. This is a contemporary, political, cultural, technological and communicative possibility. Today, we all have to become producers. [ABSTRACT FROM AUTHOR]

For about 15 years, from c.1918, British screenwriters wrote scripts in a style which allowed them – indeed encouraged them – to express their screen idea in a comprehensive fashion, including specifying shots and instructing actors. Early examples of a writers draft and a shooting script suggest British practice used both at appropriate stages in production, but that the writer's role in silent films encouraged the development of the writer's draft style into a comprehensive document from which the director took instruction. This is different from current conventions. The assumption that the writer ‘picturised’ the film on the page, as well as structuring it dramatically, persisted until the 1930s, with what appears to be a low-level struggle for control of both the visual style of the film and (eventually) the main credit for that being won by the director. The script for The Bachelors Club (1921) was written by Eliot Stannard, who wrote for Hitchcock later in the 1920s. Although primary sources for British silent screenplays are very scarce, both a writer's draft and a shooting script exists for this film; and comparison of the two accords with the view that the writer presented a complete visual concept of the film from the initial script. The industrial practices of the time had not yet rationalised the growing dominance of the director into something more than the person who ‘realised’ what the writer had ‘picturised’, but this raises questions about how far we should study British silent films through the lens of the auteur theory. The conclusions reached here are tentative. While they are not just speculation, neither is there sufficient primary evidence yet to provide more than a very patchy picture about early screenwriting practice in Britain. [ABSTRACT FROM AUTHOR]

This article focuses on the relationship between the films and constructivist art of filmmaker Dziga Vertov. It offers the assumption that constructivists and kinoks are art movements in denial. It is stated that the self-images of both aspects are austere and isolationist. It is emphasized that the peculiar thing about both Vertov's kinoks and the first-generation constructivists is that neither of the two groups is willing to acknowledge their identities. It is concluded that kinoks and constructivists are mixed, and the techniques, ideas and objects easily changed hands in real life.

The author reflects on the growth of film writing in the Internet. He emphasizes the popularity of film writing on various channels such as stand-alone sites, print-magazine sites, chat groups, and blogs. He mentions that a number of film sites is being employed by filmmakers to launch their works and latest films. Aside from its advantageous aspect, he stresses the unfavorable consequence of computer network resources on film culture as well as in the area of film criticism.

This study analyses the discourse surrounding celebrity portraits of Lois Weber and her husband and collaborator, Phillips Smalley, arguing that metaphors of marital harmony that sought to explain the couple's creative partnership ultimately could not contain the challenges their working relationship presented to dominant models of gender relations. Significant though Weber's films were, the director's elevated reputation had as much to do with the kinds of pictures she made, as it did with the type of woman she presented herself to be — married, matronly, and decidedly middle-class. [ABSTRACT FROM AUTHOR]

Writer and taste-maker Elinor Glyn performed a kind of paradoxical labour to define her authorial signature well beyond that traditionally accorded screenwriters. Thus Glyn cultivated power outside the role of author through performance, supervision of production if not direction, commentary about Hollywood, and in some cases control aver casting or the moulding of the performances of others. But these other areas of authority themselves arise from the value of the Glyn narrative as something highly recognizable during the 1920s. [ABSTRACT FROM AUTHOR]

This pre-college filmmaking class represents the writing process in a setting that acknowledges multiple forms of representation for effective communication. Students were introduced to the skills used by filmmakers and encouraged to write, script, design, edit and cast their productions for a final screening five weeks after they began their journey in the college- bound program. Evidence of their growth as writers and producers is given in their testimony to the new levels of awareness of the way in which they have improved as writers and artists. This project is a signal that the writing process can be revamped to meet the standards of media literate adolescents in the pre-college environment. Academic programs that value student talent in its many forms are encouraged to give the time, expertise, and support necessary to bring the filmmaking arts to the pre-college youth in their charge. [ABSTRACT FROM AUTHOR]

Interviews motion picture director and scriptwriter Wu Nien-chen, on his experiences in Taiwan's media culture and the motion pictures he directed. Views on himself as a motion picture director in relation to Taiwan cinema; Opinion on script writing; Way in which he conveys Taiwan in a transformative way.

The article discusses the film authorship of Orson Welles. His auteurist approach lies in its limited methodology and premises on the film. He advises the critics to read the elements in order to appreciate the style that transforms into its unique characteristics. The shortcomings of his auteurist approach become especially evident in critical discussion of his 1946 film "The Stranger," that the director made as a kind of testimony that he could work within the studio system, inhibiting the personal elements of his filmmaking practice that might prove uncommercial.

The article attempts to analyze the film "Mr. Deeds Goes to Town," directed by Frank Capra. The analysis covers within the framework of the central function of narrative structure in the making of meaning, particularly the ideological passages from the film. The importance of the passage from the script of the film is that it reinforces the ideological effect of the film as a whole, which encompasses the need to combine great thoughts with great deeds and to combine theory and practice in an uniquely American way.

The article presents the English translation of the Sergie M. Eisenstein lenghty paper "Problemy sovetskogo istoricheskogo fil'ma," which delivered during a film conference. It states that the paper discusses several aesthetic, technical, and theoretical questions related to Soviet historical films, such as the nature of historical truth, the primary task of Soviet artists, and the relationship of film to literature. The discussion uses the Marxist perspective as the sole and authoritative ideological guide for Soviet filmmakers. Further, the paper also cites the difference between historical text to historical film.

An interview with filmmaker Marcel Ophuls is presented. When asked about his guiding principle in organizing his material, he asserts that he refuses to write a script ahead of time and he will not accept a script during the course of filming. Ophuls believes that politics does enter into everything and stresses that he enjoys making films about the celebration of heroism.

Describes novelist Graham Greene's experience with motion pictures. Autobiography published by Greene; Number of films made from the works of Greene; Decade of Greene's most important development; Shift in Greene's artistic practice; Working arrangements between a writer and a director according to Greene.

The author offers opinions on the 2010 Cannes Film Festival and on a number of the motion pictures exhibited at the Festival. He states that the overall quality of the films presented at the 2010 festival did not approach that of those presented in 2009. "Route Irish," directed by Ken Loach, is seen as a disappointment considering Loach's abilities as a director. A special exhibition of the 1960s film "The Leopard," directed by Luchino Visconti, is cited in support of the author's contention that the primary weakness of many of the contemporary motion pictures exhibited at the festival was weakness as motion picture plays.