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This article focuses on the role of female showrunners in Spain, from 2019 to the present. The main objective of the research is to examine whether female showrunners play the same role as their male counterparts, both quantitatively and qualitatively, and to identify their tasks, obstacles and leadership. The methodology is based on semi-structured interviews with five Spanish female showrunners. The conclusions point out that while men are involved in all the tasks, including the choice of the people in charge of the different technical areas or the equipment, the women interviewed are involved in the management functions that are more closely linked to the script. [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]

Barbara Bray (1924-2010) was an outstanding woman of letters – radio producer and editor in the 1950s, writer and journalist in the 1960s, screenwriter in the 1970s, theatre director in the 1990s, and translator during all that time. Even though Bray played a crucial part in Beckett's creative process across three decades, she was also one of his most obscure collaborators. In this essay, I reflect upon the writing of her biography, focusing on some of the theoretical points that surfaced when trying to make a female creator come out of the shadows. I discuss the methodological and ethical choices made in the composition of the monograph, and higheight the feminist intention presiding over its writing as well as the paradoxes revealed while doing so. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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.)

One of the most prevalent themes in Emeric Pressburger's work as a screenwriter is the 'good German', a character who often represents an enemy country, who is nevertheless depicted sympathetically, or, at the very least, as a morally ambiguous character. Figures of this kind appear throughout his works, including his unpublished novels and unfilmed screenplays. This paper will examine some of these unproduced works and contest that Pressburger's writing was a response to the trauma of Nazism and the Holocaust, which stood in conflict to his largely egalitarian outlook in which he believed that all people had some good attributes. In a radical turn for the Jewish screenwriter, Pressburger uses these late works to attempt to come to terms with the moral implications of the Holocaust, considering if revenge can be justified, to what extent one should forgive, and whether acts of kindness could ever outweigh the crimes a person has committed. [ABSTRACT FROM AUTHOR]

Cinematic virtual reality (CVR) offers filmmakers a wide range of possibilities to explore new techniques regarding movie scripting, shooting and editing. Despite the many experiments performed so far both with both live action and computer-generated movies, just a few studies focused on analyzing how the various techniques actually affect the viewers' experience. Like in traditional cinema, a key step for CVR screenwriters and directors is to choose from which perspective the viewers will see the scene, the so-called point of view (POV). The aim of this paper is to understand to what extent watching an immersive movie from a specific POV could impact the narrative engagement (NE), i.e., the viewers' sensation of being immersed in the movie environment and being connected with its characters and story. Two POVs that are typically used in CVR, i.e., first-person perspective (1-PP) and external perspective (EP), are investigated through a user study in which both objective and subjective metrics were collected. The user study was carried out by leveraging two live action 360° short films with distinct scripts. The results suggest that the 1-PP experience could be more pleasant than the EP one in terms of overall NE and narrative presence, or even for all the NE dimensions if the potential of that POV is specifically exploited. [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.

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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.)

The representation of the LGBTIQ+ community in TV series has received major attention from academia, mostly from textual and reception perspectives. However, the creative and industrial processes behind the production of media content, including the writers' views and experiences, remain under-explored, especially outside of the United States and Northern Europe. Drawing on Queer Production Studies, this research seeks to fill this gap in Queer Media Studies by examining Spanish screenwriters' experiences and conceptions regarding the creation of fictional LGBTIQ+ characters for TV shows, and observes how the broadcasting industry influences this process. Semi-structured interviews were conducted with 19 Spanish screenwriters. Following thematic analysis informed by grounded theory, the main results show that normalization guides the creation of LGBTIQ+ characters, although there are differences in the way screenwriters define this concept. Moreover, the narrative exposition of the intimate lives of LGBTIQ+ characters emerges as the main dilemma in that normalization. Likewise, scriptwriters perceive ambivalent attitudes from the TV industry: Whereas the inclusion of LGBTIQ+ characters seems mandatory these days, there are fears that this might lead to low viewing figures or of reputations being tarnished by negative criticism. The results of this investigation further our understanding of how the concept of normalization shapes the creation of LGBTIQ+ media representations as perceived by professionals who play significant roles in their production. These findings contribute to the advancement of knowledge within LGBTIQ+ media studies and the construction of queer media representations. They also expand the scope of the under-explored field of Production Studies and diversify its geographical area of study. [ABSTRACT FROM AUTHOR]

American actors and screenwriters went on strike in July 2023, refusing to take part in any activities associated with the creation and promotion of movies and series. They were motivated to take this action by their „fear" of the development of artificial intelligence. For instance, an increasing number of screenwriters are being asked to adapt a text created by a chatbot (like ChatGtp) so that the ideas can be visualized. As a result, fewer screenwriters are requiered to work on the production of a movie, and those who are still employed are paid less for their efforts. In terms of actors, background actors appear to be the most vulnerable. Thus, companies that are part of Alliance of Motion Picture and Television Producers (such as Netflix, HBO, etc.) give background actors the option to „sell" their digital copy so that it can later be adjusted by AI to appear in any film or series. In other words, digital copies could be used in numerous movies instead of paying for background actors. The future of voice actors is also uncertain because of AI based tools that can replicate and translate the person's voice into almost every language.

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao 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.)

Alan Sharp, a Scottish writer, gained recognition for his first novel, A Green Tree in Gedde, which won an Arts Council Prize in 1965. Despite criticism of his portrayal of women as misogynistic, David Manderson argues that Sharp's female characters are unique individuals. Sharp later wrote scripts for Hollywood films during the "New Hollywood" era, reflecting the countercultural and turbulent nature of the time. Notably, his script for Ulzana's Raid questioned the invasion of a minority culture by a more powerful one. This article explores Sharp's films, including "Billy Two Hats," "The Last Run," and "Night Moves," highlighting his use of anti-heroes and exploration of masculinity. The author also mentions Sharp's novelization of "Night Moves" and his success in writing for American television dramas. The article concludes by praising Sharp's work as a valuable resource for future researchers and recognizing him as one of Scotland's finest writers. [Extracted from the article]

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]

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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.)

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]

Abstract Background Mental disorders are accountable for 16% of global disability-adjusted life years (DALYs). Therefore, accessible, cost-effective interventions are needed to help provide preventive and therapeutic options. As directors and screenwriters can reach a great audience, they can use their platform to either promote stigma or educate the public with the correct definition and conception of mental disorders. Therefore, we aimed to measure the stigmatizing attitude of contemporary Iranian directors and screenwriters toward patients with mental disorders in comparison with a general population group. Methods In this comparative study, we included 72 directors and screenwriters between 18 and 65 years of age with a minimum involvement in at least one movie/television show, and 72 age and educationmatched controls. We collected the demographic data of the participants, and used the Persian version of the Level of Contact Report (LCR) to measure their familiarity with mental disorders, and used the Persian version of Social Distance Scale (SDS) and Dangerousness Scale (DS) to measure their attitude toward them. Results Compared to the general population group, directors and screenwriters had significantly lower SDS (12.51 ± 3.8 vs. 13.65 ± 3.73) and DS (12.51 ± 3.8 vs. 13.65 ± 3.73) scores (P

Background: Mental disorders are accountable for 16% of global disability-adjusted life years (DALYs). Therefore, accessible, cost-effective interventions are needed to help provide preventive and therapeutic options. As directors and screenwriters can reach a great audience, they can use their platform to either promote stigma or educate the public with the correct definition and conception of mental disorders. Therefore, we aimed to measure the stigmatizing attitude of contemporary Iranian directors and screenwriters toward patients with mental disorders in comparison with a general population group. Methods: In this comparative study, we included 72 directors and screenwriters between 18 and 65 years of age with a minimum involvement in at least one movie/television show, and 72 age and educationmatched controls. We collected the demographic data of the participants, and used the Persian version of the Level of Contact Report (LCR) to measure their familiarity with mental disorders, and used the Persian version of Social Distance Scale (SDS) and Dangerousness Scale (DS) to measure their attitude toward them. Results: Compared to the general population group, directors and screenwriters had significantly lower SDS (12.51 ± 3.8 vs. 13.65 ± 3.73) and DS (12.51 ± 3.8 vs. 13.65 ± 3.73) scores (P < 0.001), indicating a more positive attitude toward patients with mental disorders. Familiarity with mental disorders was not significantly different between the groups. Female sex was associated with a more negative attitude among the directors and screenwriters group. Additionally, among the SDS items, 'How would you feel about someone with severe mental disorder marrying your children?' and 'How would you feel about someone with severe mental disorder taking care of your children for a couple of hours?' received the most negative feedback in both groups. And among the DS items, 'there should be a law forbidding a former mental patient the right to obtain a hunting license' received the most negative feedback in both groups. Conclusions: Iranian contemporary directors and screenwriters had a more positive attitude toward patients with mental disorders, compared to general population. Due to this relatively positive attitude, this group of artists can potentially contribute to anti-stigma initiatives by offering educational materials and resources, promoting mental health care, and improving access to mental health care. [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]