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The article examines vampires as "outsiders" using critical theorist Michel Foucault's concepts of biopolitics and governmentality to analyze their portrayal in over 30 Anglophone films. Topics include the vampire's relationship with history, the regulation of behavior within governance, and the role of screenwriting practices in shaping the genre.

Some Kind of Liberating Effect is a documentary dedicated to research freedom in the academic study of religion in Central and Eastern Europe. This essay examines the techniques used to develop a script and a screenplay. It will show how the documentary integrates screenwriting with the question of freedom of research in this academic field and region. First, the essay presents the raw footage filmed between 2022 and 2023, then the screenwriting techniques used for plotting a story. Finally, it discusses the shift from the history of the academic field to storytelling, particularly with regard to the frame story included in the film. In conclusion, it presents some remarks concerning the interdisciplinary and intersectoral approaches between religious studies and the film industry implemented in the documentary. [ABSTRACT FROM AUTHOR]

Copyright of Revista Canaria de Estudios Ingleses is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This interview with Monica Guerritore reports on her project of making a film about Italian actress Anna Magnani (1908–73). In the interview, Guerritore talks about the film's screenplay and her ideas about the construction of the character. The text also entails, through a thorough analysis of the development of Magnani's career, important reflections on the transformations of Italian cinema, with references to Guerritore's own experiences as an actress (both for the stage and the screen), stage director, playwright and literary author. [ABSTRACT FROM AUTHOR]

How did the rise of cinema affect authorship in Britain? This essay examines the question in relation to both new and established writers. Referring to manuals of authorship and fiction writing as well as to the archives of the Society of Authors, it places the rise of cinema after 1906 in the context of the wider "Americanization" of the British culture industry and illustrates the ways in which cinema drove changes to readerly expectation, advertising, and the marketing of literature. It also examines how the business of writing for the cinema came to be incorporated into the broadly professionalized concept of "authorship." In addition to drawing from the experiences of fiction writers including W. Somerset Maugham, E. Phillips Oppenheim, Elinor Glyn, Arnold Bennet, and Edgar Jepson, it also considers cinema authors, Herbert Langford Reed and Eliot Stannard, who sought to integrate screenwriting with the other disciplines traditionally described by the term authorship, widening our sense of what that category might mean. [ABSTRACT FROM AUTHOR]

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Amongst a myriad of articles, chapters and books that argue for different ways to understand and conduct creative practice research – or as it is otherwise known, artistic research, arts-based research, practice-led research, practitioner-based research, and so on – this article goes to the heart of the affordances of creative practice research and offers what the authors believe is more generative model for this work, with more productive terminology. By focusing on a process of research enabling, as opposed to research being led by, based on or taken through practice (and vice versa), the article seeks clarity on the relationship between research questions, research design and methods; where a contribution to knowledge resides; how, accordingly, a research project might be written up; and who, indeed, creative practice researchers are. From our experience of undertaking, supervising and evaluatingcreative practice research, we have come to realise that some of the fundamental challenges of this work reside in a basic understanding of what, why, how and by whom. We believe that some of the definitions and models of creative practice research are a contributor to these challenges, hence a new model with alternative terminology to help untangle some of the intellectual complexities we have seen. The discussion uses screen practice as its disciplinary site, encompassing media/screen production and screenwriting. [ABSTRACT FROM AUTHOR]

The article presents an interview with screenwriter Jack Epps Jr. as part of the 20th Anniversary celebration of "New Writing." Topics include his approach to character development and emotional resonance in screenwriting, the dynamics of collaboration with other writers, and his experiences working with directors and actors throughout his career.

This article contributes to the scholarship on Japanese director Miike Takashi, who has gained increasing international recognition over the past two decades. Through a case study of Miike's manga-inspired live-action film, Crows Zero (2007), I delve into specific aspects of the film's settings, especially poetry and linguistic sings, to explore authorship from a comparative perspective and its manifestation in transmedia adaptation. This analysis draws upon Thomas Leitch's concept of adaptive authorship and rethinks the historical dichotomy between the auteur and the metteur-en-scène , as originally delineated by François Truffaut. By arguing that Miike's role in the film is neither a mere adapter lacking creativity nor a consistent artist, and by highlighting instances of directorial authorship in the film's nuanced details, I question the tendency in film studies that adaptive authorship is often overshadowed by, and eventually integrated into, auteurship to the point where it can only be examined within broader auteurist analyses. Thus, this case study underscores the advantages of an adapter-based approach over an auteurist one, suggesting that moving beyond the doctrines of consistency and coherence may facilitate the identification of authorship from different perspectives. [ABSTRACT FROM AUTHOR]

As with many popular texts promising templates for successful storytelling, The Writer's Journey claims that a singular story structure applies to all voices and circumstances, therefore funnelling every character journey into a 'universal neutral'. This article offers queer temporality as a lens through which to unravel the 12 steps of Vogler's hero's journey, informed by queer theory's critiques of the 8 steps of the heteronormative life journey. It joins other studies critiquing the paradigm from other standpoints, including Indigenous screen storytelling, gaming and interactive narratives, and for development of characters disenfranchised by gender and/or circumstance. Others note the model's increasing irrelevance as writers uncover its limitations for creative processes of story development. This article homes in on how studies of queer temporalities – rejecting 'dominant temporal logics' and 'chrononormativity', replacing 'straight time' with 'queer time', can further destabilise the hero's journey's dominance in story development by exploring the breadth of practices in creative writing and screen production beyond the universalising models. [ABSTRACT FROM AUTHOR]

This article draws upon the rich and diverse history of situation to develop a new tool for narrative analysis across media and form. The term has played a role in theater, creative writing, and screenwriting; as situatedness, it has been linked to the categories of identity; and it has been used to chart relations between social and aesthetic experience. Seizing upon the way situation emphasizes emergent dynamics, we theorize it as a narrative concept by distinguishing it from plot, genre, and context. Identifying its minimal conditions as two elements in relation with something at stake, we explore what situation can offer in capsule readings of Harold Ramis's Groundhog Day and Daniel Defoe's Robinson Crusoe. [ABSTRACT FROM AUTHOR]

Much research has been dedicated in recent years to the rhetoric and poetics of digital discourse. These have tried to grasp the techno-structure of "screen writing", examining with precision the links between the coded dimension and its visible manifestations, or studying closely the role of the "architext", the technical, industrial and ideological guidance of writing and reading practices by software tools and platforms. I myself have actively participated in this field of research, being interested on the one hand in the role of code and algorithms, and on the other hand in the role of software that facilitates the process of digital writing and at the same time constrains it, models it, normalizes it; The question of knowing which visions of the world are encoded in software tools and platforms has been central to my research on digital discourse, since it seems obvious that social networks such as Facebook, for example, have not only popularized digital writing by providing authors with a theoretically unlimited number of receivers, but also by encoding in the device visions of what friendship, community, popularity, life in society, and the contemporary subject mean. Fewer are the analyses that place at the center of their methodology the "interpretative filters" mobilized by the subject, faced with the digital discourse. In this article, I will try to circumscribe the rhetoric of digital discourse by relying on two complementary methodological frameworks: the theories of intermediality, which will allow me to grasp some of its techno-semiotic specificities through the prism of production and reception, and social semiotics, which places at the center of the analysis the action of the "interpretive filters" mobilized by the subject in dealing with signs. [ABSTRACT FROM AUTHOR]

This article dislodges the assumptions of authorial cohesiveness and centrality that have defined the scholarly and critical reception of the New Wave and suggests ways of reframing our understanding of British realism and the collaborative labours that underpin it. It does so through consideration of This Sporting Life, the adaptation of David Storey's 1960 novel of the same name, which concerns the rise and fall of miner and rugby league player Frank Machin and his doomed relationship with his landlady, Mrs Hammond. Drawing primarily on Storey's archive, held at the University of York, this article considers the role of the writer in shaping the film, and by extension, the hugely significant but often less heralded contribution made by writers to the ethos and aesthetics of the British New Wave. [ABSTRACT FROM AUTHOR]

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 generation and transformation of screen narrative characteristics are closely related to the formation and development of screen writing. Screenwriting is a product of the combination of screen media and human narrative needs. It was structured and generated in the birth of film art, and expanded and refined in the development and narrative transformation of television screens and mobile phone microscreens. The generation and transformation of screen narrative characteristics constitute a narrative compensation path. It reflects the standardization and shaping of narrative forms by screen media, supplements the function of screen narrative, and also records the process of human subjects from using screen stories for communication to replacing screen stories as narrative subjects in the process of controlling media technology. [ABSTRACT FROM AUTHOR]

This essay argues that Steven Soderbergh's 2009–2012 films – The Girlfriend Experience (2009), Haywire (2011) and Magic Mike (2012) – form a loose trilogy depicting the plight of the working class (or precariat) during the Great Recession Linking textual analysis to the economic downturn reveals Soderbergh's significant critique about this period, ultimately causing him to announce his retirement. His protagonists' predicaments are the same as contract workers in the new, neoliberal economy, including the creative class in conglomerate Hollywood. [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 article, taking its cue from Charles Drazin's pioneering work, is the first extended analysis of the career of British screenwriter Angus MacPhail, described as one of the key figures who helped to lay the groundwork for the golden age of British cinema. MacPhail worked as scenario editor for producer Michael Balcon at the leading British studios Gainsborough, Gaumont-British and Ealing from the late 1920s to the late 1940s. The article considers MacPhail's work in relation to debates about authorship, collaboration and celebrity culture during this period. It explores his intellectual and cultural formation as a Cambridge undergraduate who studied for the newly established English Tripos during the early 1920s; and highlights MacPhail's ambivalent relationship to modernism, through his opposition to Virginia Woolf's reconfiguration of literary values during the 1920s, and his penchant for what Leonard Diepeveen has described as 'mock modernism'. It goes on to analyse the circumscribed power and influence MacPhail exercised within the British studio system during the late 1920s to the late 1940s, before considering his career in relation to other key figures of this period such as Ivor Montagu and Elliot Stannard, and his relationship to British middlebrow culture. Finally, it explores how MacPhail's specialised, circumscribed focus on film writing set him apart from what Alexis Weedon describes as a new type of author-celebrity during this period, the emergent 'transmedia storyteller'. [ABSTRACT FROM AUTHOR]

This article examines the definition and characteristics of pan-Asian film authorship and aesthetics advocated by the late Wouter Barendrecht, film producer of Fortissimo Film Sales, as employed to promote the Thai film auteur Pen-ek Ratanaruang. Through collaboration with East Asian film industries, such as the ones in Japan, Hong Kong, Singapore and South Korea during the period of intensified pan-Asian co-production at the turn of the century, Pen-ek was branded a pan-Asian auteur for the global film market on account of his pan-Asian identity, rather than his association with the New Thai Cinema label. Barendrecht employed two strategies – the auteur as brand, and the region as brand – to construct the image of this new pan-Asian author. By considering these branding strategies, it can be argued – following Nissim Otmazgin and Eyal Ben-Ari – that a cultural imbalance between East Asia and Southeast Asia still persists: East Asia as cultural producer and Southeast Asia as market. [ABSTRACT FROM AUTHOR]

This article aims to reinstall the understated significance of female auteur Agnès Varda in French New Wave cinema. By analyzing distinctions in cinematography and characterization between Varda's film Cléo from 5 to 7 (1962) and Jean-Luc Godard's oeuvre from the same period, I argue that Cléo from 5 to 7 advanced a vision of female subjectivity that controverted the construction of silenced female characters in Godard's films. With her feminist pen of cinécriture, or "film-writing," Varda challenged the prevalent androcentrism in the New Wave and pioneered second wave feminism in France. [ABSTRACT FROM AUTHOR]

Drawing on interviews from industry professionals, this article explores both the collaborative and, less documented, individual manifestations of script development. Researchers have noted that within screenwriting and screen production, script development practices and processes defy definition over various modes, media, global contexts and production cultures. This article argues that part of this flux is the ways in which individual pursuits of script development are mis/understood and/or dismissed. Screenwriting scholarship often questions the discourses within which individual pursuits of script development are promoted, especially the 'how-to' market of screenwriting manuals, using the 'practical realities' of the screen industry as a basis for this critique. This article builds on this work to problematise script development as a solely collaborative pursuit. Those interviewed for the research occupy a breadth of script development roles across their respective countries and industries, including screenwriter, script consultant and script editor. While the how-to market often neglects the practical realities of script development by reducing it to the individual pursuit from idea to draft, it is not simply the case that the industrial perspective is always collaborative either, as these professionals reveal. This article investigates the relationship that exists between collaborative practices and the contributions of the individual. [ABSTRACT FROM AUTHOR]

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]

This article considers an arts-based project, Learning Returns (2023), that seeks to capture the experiences of adults who have returned to arts study after some time away from formal education. The aims of the project are twofold: firstly, to evaluate the combination of narrative inquiry and digital film-making hosted on YouTube as a method of investigating adult learning and secondly, through an analysis of the Learning Returns content, to discover what themes the participants considered important to communicate to an imagined, virtual audience. The findings suggested that the aesthetics of the videos/films interconnect with the lived experiences of the participants. The participants were able to give an account of their experiences spontaneously, and at the same time communicate messages of hope to prospective adult returners. It was also discovered that the editing process offers a means of analysing the content of the films that is analogous to the approaches associated with qualitative research. [ABSTRACT FROM AUTHOR]

Copyright of Constellation Cendrars is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sapa Ndisist Oh is the first film made by the people of Kepunduhan Village, Kramat Subdistrict, Tegal Regency, Central Java Province, with filmmaker Marjo Klengkam Sulam as the director. The film received appreciation from the Village Innovation Exchange at the Central Java Provincial Level, organized by the Ministry of Villages, Development of Disadvantaged Regions and Transmigration. Kepunduhan villagers were involved in the making of the film as crew and actors, collaborative work between professionals and the involvement of residents in the filmmaking process industry is a practice of Participation methods. Residents who are unfamiliar with filmmaking techniques are involved in filmmaking directly. Based on this, the research conducted aims to find out the role and form of participation of the Kepunduhan Village community in the process of making the film Sapa Ndisit Oh. The method used is descriptive. The process carried out by researchers is an interview with the director of the film Sapa Ndisit Oh and observation of the film Sapa Ndisit Oh as the object of research. Data analysis techniques in this study go through several stages, data collection, data reduction, data analysis, and conclusions. The results of the research obtained are the initial idea of filmmaking, the role of the Kepunduhan Village Community, and the form of Kepunduhan Village Community Participation in making the film Sapa Ndisit Oh. Participation practices produce films that are more relevant to the context of local communities, which are the result of discussions and interviews with the community. Participation practices can produce films that are more relevant to the context of the local community. The results of the research can be an additional knowledge for academics and professionals in the field of cinema. [ABSTRACT FROM AUTHOR]

Within the academic domain focused on the artistic practice of screenwriting, this exploratory study assesses the presence of emotional transportation and character identification processes within the solitary screenwriter's creative imagination during the writing process. Screen-writing research is facing a dichotomy of the screenwriter who embodies both the role of a narrative specialist and that of a visual storytelling poet. Screenwriters often work in isolation, even in collaborative projects, leading to a tension between solitary work and collaborative roles. Narrative theories in screenwriting have mainly centered on identification of the audience, neglecting the screenwriter's perspective. However, screenwriting can serve as a platform for experimentation and a reflection of new ideas, insights, and hands-on experience, meeting the demand for a systematic understanding of the writer's processes. The results of this study provide preliminary insights into the mechanisms of emotional transportation, identification, and eureka moments in screenwriting practice. The study suggests that the transportation effect in writers is induced by a feeling of security, which arises from the limitations of the assignment. The data also suggests that pressure can lead to more original dramaturgical solutions. As such, this experimental pilot study already sheds light on the screenwriter's artistic process. Yet, it has limitations, including a small number of informants and the novelty of the research method. [ABSTRACT FROM AUTHOR]

The article discusses the filmmaker's motivation for producing a film about Symon Petliura, a historical figure in Ukrainian history. The filmmaker recounts his experiences in Paris, where he learned about Petliura's connection to the city and became interested in exploring his story. The filmmaker also discusses the challenges of financing and producing the film, emphasizing the importance of having sufficient funds and making creative compromises. The article highlights the filmmaker's passion for the film-making process and the desire to convey personal emotions and feelings through the visual medium. [Extracted from the article]

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.

Javier Aguirre's work is a very complex example of the notion of an auteur in the field of cinema. Throughout his professional career, he made commercial films in which he followed the conventional parameters of popular cinema. At the same time, however, he was also responsible for strongly individual films in the line of the most experimental and independent cinema of his time. This article reflects on the idea of the (anti)author regarding the relations between both models of production. The notion of style in cinema inevitably involves three fundamental elements: the conditions of production, the state of film technology and the way in which creative work is approached at every moment of history. In this text, we focus on the films directed by Aguirre between 1960 and 1985, reviewing his main thematic references and the specific expressive resources that characterized that period. Finally, we consider the articulation of these themes from a perspective of a field that is both a metonymy and also as a metaphor for Spain undergoing the process of modernization during the final years of the Franco Regime: the tourist experience. [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]

English Studies in Africa 66 (2), 2023: 5 - 10. 2 Galgut, Damon. Thank you for these pieces, which I have read with a mixture of interest, appreciation and (sometimes) bemusement. ' Their Galgut, Our Galgut: A Complimentary Rant on the Booker Prize '. 'White Moral Projects and the Impossibility of Racial Repair: A Reflection on White Shame and Black (Dis)Inheritance in Damon Galgut's The Promise '. [Extracted from the article]

The notion of a book has expanded and, from the old cultural guerrilla war with mass media such as television, digital culture has promoted a more effective adherence to screens as supports for writing and reading. From these practices, it can be said that, in a not very peaceful way, literature admitted the transition between the verbal and the non-verbal, as well as in the context of digital poetics, animation and sound that are also incorporated into creative language. In this sense, this article intends to discuss the reconfigurations of the book in the context of transformations in communication technologies driven by the digital and the impact of technological writings on reading processes, using theoretical references by Michel Melot (2012), Robert Scholes (1989), Roger Chartier (1999, 2004, 2010), Umberto Eco (2005), Alckmar Luiz dos Santos (2003), Katherine Hayles (2009), and Rui Torres (2004). In this way, it was possible to discuss some points of the current reading process, aiming at the contribution to a reflection on digital reading, as well as to problematize the book in this context. [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]

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]