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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]

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, 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]

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]

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]

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]

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]

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]

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 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.

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]

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 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]

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Multimedia or audiovisual translation (AVT) is a branch of translation concerned with transferring multimodal texts in audiovisual materials from one language/culture into another. Subtitling is a common form of AVT where the spoken dialogue is translated and written on the screen. Different scholars have examined subtitling but on a limited number of audiovisual products. This paper presents a new 1,254,278-word English-Arabic Movie Subtitles Corpus (EAMSC). It describes the data selection and extraction methods and suggests potential applications for the compiled corpus. The corpus includes the scripts of English movies selected on the basis of genres and high Internet Movie Database (IMDB) ratings, along with their subtitles extracted from Netflix and Orbit Showtime Network (OSN). To compare the subtitles chronologically, the researchers selected seventy movies, two movies per decade from the 1930s to the 1990s, thirty-one movies from 2000 to 2010, and the remaining twenty-five from 2011 to 2020. To improve its quality, the corpus has been manually checked at different levels, namely text segmentation, and alignment. This parallel corpus can also be used in language teaching, translator training, and AVT research. In addition, it can be used to explore the strategies of translating English movies into Arabic. Finally, the study recommends researchers to compile other AVT parallel corpora of different modes. [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]

The article reveals the theoretical approaches of the Soviet and Russian film critic and screenwriter, Prof. Dr. S.I. Freilich (1920–2005), which are reflected in his scientific articles published in the Cinema Art journal. Professional activity of S.I. Freilich was associated with the analysis of the problems of the history of cinematography, the methodology of film studies, the theory and history of cinema. He devoted his main theoretical works on cinematographic issues mainly to professional issues of film dramaturgy. As a result of the content analysis of the main theoretical articles of the film critic Semyon Freilich, published in the Cinema Art journal, we came to the following conclusions: - the author devoted his main theoretical works mainly to professional issues of film writing and film criticism, while most of his publications were written in line with the ideological and political dogmas of a particular Soviet historical period; - in many of his theoretical articles of different years, S.I. Freilich turns to the analysis of the cinematic heritage of S. Eisenstein; - the film critic considered the improvement of the theory of style to be a task of paramount importance for the further development of screenwriting and film art in general, therefore he repeatedly addressed this problem in his theoretical articles. - the theoretical articles of the author contain cinematic terms, are not devoid of expressive artistic imagery; the stated theoretical concepts are confirmed by clear logic and consistent argumentation based on primary sources; the author's position and the author's attitude to the subject of research are clearly seen in the general content and generalizing conclusions; in structural terms, his articles are usually in a scientific style, have a clear structure and a significant amount. [ABSTRACT FROM AUTHOR]

Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner's overture to Tannhäuser in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters' psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative. [ABSTRACT FROM AUTHOR]

The authors reflect on creating a collaborative creative work that was developed both with, and as, a manifesto. Using queer theory as a framework, the authors track the process of developing and deploying a 14-step manifesto and outline their aims for queering screen production through creative practice. The project applies Baker's (2011) call for a queer-ing of practice-led research, enacting a performative bricolage with a focus on queer screen production that is concerned with more than representation. The resulting 14-minute assemblage film outlines its thesis within an experimental, non-linear structure, comprising clips from the individual authors' previously produced screen works, interplayed with new content, personal archive and textual elements. It combines the authors' separate practices in filmmaking, screenwriting, mobile media and documentary in ways that deviate from mainstream categorisations, production hierarchies and workflows. Firstly, the manifesto is situated among others that outline strategies of disruption and resistance. Then, framed by the manifesto steps, the authors reflect on the film's disruption of dominant narrative models in the context of queer theory's critiques of heteronormative temporality. They then draw some conclusions around the possibilities of 'manifesto as method', and the implications for narrative disruption, queer screen production, and creative practice more broadly. [ABSTRACT FROM AUTHOR]

The article examines the strategy and style of author Thea von Harbou in creating the script of the film "Dr. Mabuse, Der Spieler." Also cited are how von Harbou transitioned from writing novels to writing film manuscripts, her first film "Die Legende von der Heiligen Simplicia" (The Legend of Saint Simplicia), and the working relationship between directors and screenwriters.

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]