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In this interview, American comedy writer Barry Blaustein discusses his time at SNL in the 1980s as well as the changes comedy and the film industry have undergone in the last fifty years. He also shares his opinion on the future of comedy and the integration of the woke movement. [ABSTRACT FROM AUTHOR]

Director Alejandro González Iñárritu and screenwriter and novelist Guillermo Arriaga worked together on three, highly successful films – Amores perros (2000), 21 Grams (2003) and Babel (2006). Yet, theirs was a troubled partnership and ended in a public feud. Arriaga stressed his creative primacy in the projects they worked on and downplayed the input of the director, while Iñárritu underplayed Arriaga's contribution after Amores perros. Finally, during the making of Babel, these tensions came to a head and their collaboration came to an acrimonious end over irreconcilably different notions of what we might term 'creative credit'. This well-known collaboration, feud and separation tell a story of creative partnerships, film industry working practices, power plays and media manipulations. This article examines the public statements of the two men and explores their story. It also asks a series of questions that relate to their specific relationship, but also to broader power dynamics between directors and the screenwriters with whom they work when both have auteurist ambitions: what does the Iñárritu/Arriaga dispute reveal about discourses of auteurism and its construction? What is the role of the screenwriter and his/her access to an auteurist status in the film industry? [ABSTRACT FROM AUTHOR]

In this work it has been analized the participation of figures or techniques of amplification described by Geoffrey of Vinsauf, norman poet from 13th century, into the classical rhetoric dimensions known as dispositio (structure) and elocutio (style), so that I can exemplify how in film industry it can be witnessed its use in form of image design through cinematography, visual composition and scenic assembly. From this study, it is also possible to notice how screenwriters and directors have been able to offer moral or emotional meaning to the viewer. [ABSTRACT FROM AUTHOR]

Gerardo 'Papu' Curotto's debut feature Esteros (Estuaries, Argentina, 2016) tells a story of young love and second chances in Argentina's northern Corrientes province. With its lush settings, endearing performances and positive denouement, it echoes recent LGBTQ+-themed Argentine successes on the international festival circuit. But Esteros can also be viewed from another angle, that of adaptation studies. A focus on the screenwriter Andi Nachon's contribution reveals the subtle politics of a film that touches on land ownership, farming methods and environmentalism. By highlighting the screenwriter's role, alongside that of the director, a number of apparently otiose leitmotifs and passing comments come to make sense as part of a broader comment on environmental politics in Argentina. Thus a study of Esteros that assesses the links between the film and Nachon's poetry opens up the movie as a work of political critique and enriches our understanding of the screenwriter's role in adaptations. [ABSTRACT FROM AUTHOR]

The author discusses the life and career of her father Tay Garnett, a film director, writer and producer. Topics discussed include the highlights if his career, his filmography including "The Postman Always Rings Twice" and "A Connecticut Yankee in King Arthur's Court," marriage with actress Mari Aldon, the author's childhood in Hollywood and the death of her father on October 3, 1977.

This article contributes to the emerging body of research on screenwriting practice by drawing together perspectives from industry that reveal an often hidden aspect of the creation of a screen work – script development. Using the same set of interviews that informed a previous work, this article mines those same discussions for insights relating specifically to what is to date a largely unexplored element of screenwriting practice. The perspectives we draw together – from our pool of screenwriters, script editors, script executives and script consultants – serve to both highlight the ambiguity that troubles the term ‘script development’, and also contribute to wider research seeking to define both the concept and the practice for screenwriting scholars and practitioners from an industry outlook. It has been 10 years (at the time of writing) since Peter Bloore wrote of his research that, ‘none of the books available about the film industry and scriptwriting really covered the reality of development [and none] really dealt with the development process as I knew it’. His book is still one of only a few attempts to address this gap in screenwriting research, and so by focussing specifically on the people who experience it, the intention of this article is to try and articulate how we might better understand extant practices of script development. [ABSTRACT FROM PUBLISHER]

This study examines gender constructions of the main characters in Chinese top-grossing feature films, 2002–2011, and the sex of content creators in relation to film content. Content analysis of 332 characters reveals that women are more likely than men to be young, sexualized, and conform to an ideal image. Male characters are older and reflect traditional Chinese norms of masculinity. Women are rarely present among content creators and are most likely to be writers or producers. Findings indicate that Chinese film content reflects the growing Chinese beauty economy. [ABSTRACT FROM PUBLISHER]

Screenwriters are a vital part of the production of cultural products in the Canadian screen industry, but little has been written about how they perceive the environment in which they practice their craft. Situating our methodology within the general production culture framework, particularly in regards to industrial reflexivity, we present an analysis of 50 in-depth interviews with English-language Canadian screenwriters. As our subjects reflect on their experiences, a portrait emerges of the factors affecting the screenwriter's role in the production of screen culture in English-speaking Canada. Their stories reveal a complex plot: one in which screenwriters, much like the characters they create, manoeuver through a landscape with its own boundaries, pitfalls, rewards, and consequences in their quest to attract elusive homegrown audiences. [ABSTRACT FROM AUTHOR]