Kooperativer Bibliotheksverbund

UID:

Umfang: 1 online resource (284 p.)

Ausgabe: 1st ed.

ISBN: 0-520-96819-0

Inhalt: "The film industry in Hollywood now employs a global mode of production run by massive media conglomerates that mobilize hundreds, sometimes thousands, of workers for each feature film or television series. Yet these workers and their labor remain largely invisible to the general audience. In fact, this has been a signal characteristic of Hollywood style for more than a hundred years: everything that matters happens onscreen, not off. Consequently, when it comes to movies and television, the voices heard most often are those belonging to talent and corporate executives. Those we hear least are the voices of labor, and it's that silence we aim to redress in the collection of interviews in this book. Drawing from the detailed and personal accounts in this collection, we offer three interrelated propositions about the current state and future prospects of craftwork and screen media labor: 1. Craftwork exists within an intricate and intimate matrix of social relations. 2. Hollywood craftwork today constitutes a regime of excessive labor. 3. Screen media production is a protean entity. We organized the collection into three sections: company town, global machine, and fringe city. The first section refers to Hollywood's historic roots as a core component of the motion picture business. The second section engages more directly with the spatial dynamics of film and television production to underscore the economic and political structures that are integrating distant locations into the studios' mode of production. We close with a section on the visual effects sector, in which stories shared by vfx artists, advocates, and organizers specifically illustrate how the industry today relies on marginal institutions to sustain its power and profitability"--Provided by publisher.

Anmerkung: Includes index. , Listening to labor / Michael Curtin and Kevin Sanson -- Mara Brock Akil, showrunner -- Tom Schulman, screenwriter -- Allison Anders, director -- Lauren Polizzi, art director -- Mary Jane Fort, costume designer -- Anonymous, make-up artist -- Stephen Lighthill, cinematographer -- Calvin Starnes, grip -- Steve Nelson, sound recordist -- Rob Matsuda, musician -- Anonymous, studio production executive -- David Minkowski, service producer -- Adam Goodman, service producer -- Stephn Burt, production manager -- Belle Doyle, locations manager -- Wesley Hagan, locations manager -- Scott Ross, VFX manager -- Dave Rand, VFX artist -- Mariana Acuña-Acosta, VFX artist -- Daniel Lay, VFX artist -- Steve Kaplan, union official -- Dusty Kelly, union official. , In English.

Weitere Ausg.: ISBN 0-520-29543-9

Sprache: Englisch

Schlagwort(e): Electronic books. ; Electronic books. ; Electronic books. ; Electronic books. ; Electronic books.

DOI: 10.1525/9780520968196

URL: kostenfrei

URL: kostenfrei

URL: Open Access

URL: kostenfrei

URL: Cover

URL: Cover

URL: Click to View

UID:

Umfang: XLI, 818 p. 39 illus., 16 illus. in color. , online resource.

Ausgabe: 1st ed. 2023.

ISBN: 9783031207693

Inhalt: This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners. Rosamund Davies has a background of professional practice in the screen industries and is Senior Lecturer at the University of Greenwich, UK. Paolo Russo is Senior Lecturer in Film at Oxford Brookes University, UK, and a former Chairperson of the Screenwriting Research Network. He is also a professional screenwriter. Claus Tieber teaches Film Studies at universities in Vienna, Brno, Kiel, and Salamanca and is a former Chairperson of the Screenwriting Research Network.

Anmerkung: 1.Introduction -- Part I: What Screenwriting ontology: Defining the screenplay and screenwriting -- 2. How to Think about Screenwriting -- 3. Screenplectics: Screenwriting as a Complex Adaptive System -- 4. Collaboration, Cooperation, and Authorship in Screenwriting aka How Many People Does It Take to Create an Author? -- 5. Acts of Reading: The Demands on Screenplay Reading -- 6. The Reality of (Screen) Characters -- 7. "We Come to Realize": Screenwriting and Representations of Time -- 8. The Motion-Picture Screenplay as Data: Quantifying the Stylistic Differences Between Dialogue and Scene Text -- 9. Writer/Reader as Performer: Creating a Negotiated Narrative.-10. An Ontology of the Interactive Scripts -- PART II: When/Where Screenwriting Historiography -- 11. Historiographies of Screenwriting -- 12. They Actually Had Scripts in Silent Films? Researching Screenwriting in the Silent Era -- 13. Silent Screenwriting in Europe: Discourses on Authorship, Form, and Literature -- 14. When Women Wrote Hollywood: How Early Female Screenwriters Disappeared from the History of the Industry They Created. A Case Study of Four Female Screenwriters -- 15. Narrating with Music: Screenwriting Musical Numbers -- 16. Women Screenwriters of Early Sinophone Cinema: 1916-1949 -- 17. A Historiography of Japanese Screenwriting -- 18. Writing Social Relevance: U.S. Television Dramas in the Civil Rights Era -- 19. Horror Bubbles: Andrés Caicedo's Weird Screenplays -- 20. Writers as Workers: The Making of a Film Trade Union in India -- 21. The Evolving Depictions of Black South Africans in the Post-Apartheid Screenwriting Tradition -- PART III: Who Screenwriting and the Screen Industries -- 22. The International Writers' Room: A Transnational Approach to Serial Drama Development from an Italian Perspective -- 23. Writing Online Drama for Public Service Media in the Era of Streaming Platform -- 24. Screenwriting for Children and Young Audiences -- 25. Imitations of Life? A Challenge for Black Screenwriters -- 26. Beauties and Beasts: The Representation of National Identity through Characterization in Syrian-Lebanese Pan-Arab Dramas -- 27. "That's a Chick's Movie!": How Women Are Excluded from Screenwriting Work -- 28. The Different American Legal Structures for Unionization of Writers for Stage and Screen -- PART IV: How Approaches to Screen Storytelling -- 29. Random Access Memories: Screenwriting for Games -- 30. "Everybody Chips in Ten Cents, and Somehow It Seems to Add Up to a Dollar": Exploring the Visual Toolbox for Animation Story Design -- 31. The Short-Form Scripted Serial Drama: The Novice Showrunner's New Opportunity -- 32. The Plural Protagonist. Or: How To Be Many and Why -- 33. The Haptic Encounter: Scripting Female Subjectivity -- 34. Script Development from the Inside Looking Out. Telling a Transnational Story in the Australian Films 33 Postcards (Chan, 2011) and Strange Colours (Lodkina, 2017) -- 35. Extended How? Narrative Structure in the Short and Long Versions of The Lord of the Rings, Kingdom of Heaven, and Dances with Wolves -- PART V: How To Researching and Teaching Screenwriting: Discourses and Methods -- 36. Film Dramaturgy: A Practice and a Tool for Researchers -- 37. Screenwriting Pedagogy in the United States: In Search of the Missing Pieces -- 38. Screenwriting Manuals and Pedagogy in Italy from the 1930s to the End of the 20th Century -- 39. Screenwriting, Short Film, and Pedagogy -- 40. Screenwriters in the Academy: The Opportunities of Research-Led Practice.

In: Springer Nature eBook

Weitere Ausg.: Printed edition: ISBN 9783031207686

Weitere Ausg.: Printed edition: ISBN 9783031207709

Weitere Ausg.: Printed edition: ISBN 9783031207716

Sprache: Englisch

Fachgebiete: Allgemeines

Schlagwort(e): Aufsatzsammlung

DOI: 10.1007/978-3-031-20769-3

URL: https://doi.org/10.1007/978-3-031-20769-3

URL: lizenzpflichtig

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Umfang: 328 S.

Sprache: Englisch

Schlagwort(e): Drehbuchautor ; Interview

UID:

Umfang: 1 online resource (287 pages) : , digital, PDF file(s).

ISBN: 90-485-5290-7

Serie: Gendering the late medieval and early modern world

Inhalt: The essays in this volume analyze strategies adopted by contemporary novelists, playwrights, screenwriters, and biographers interested in bringing the stories of early modern women to modern audiences. It also pays attention to the historical women creators themselves, who, be they saints or midwives, visual artists or poets and playwrights, stand out for their roles as active practitioners of their own arts and for their accomplishments as creators. Whether they delivered infants or governed as monarchs, or produced embroideries, letters, paintings or poems, their visions, the authors argue, have endured across the centuries. As the title of the volume suggests, the essays gathered here participate in a wider conversation about the relation between biography, historical fiction, and the growing field of biofiction (that is, contemporary fictionalizations of historical figures), and explore the complicated interconnections between celebrating early modern women and perpetuating popular stereotypes about them.

Anmerkung: Title from publisher's bibliographic system (viewed on 17 Dec 2021). , Frontmatter -- , Gendering the Late Medieval and Early Modern World -- , Table of Contents -- , List of Figures -- , Acknowledgments -- , 1. Introduction: Biography, Biofiction, and Gender in the Modern Age -- , Section I: Fictionalizing Biography -- , 2. Sister Teresa: Fictionalizing a Saint -- , 3. Portrait of an Unknown Woman : Fictional Representations of Levina Teerlinc, Tudor Paintrix -- , 4. An Interview with Dominic Smith , Author of The Last Painting of Sara de Vos: Capturing the Seventeenth Century -- , 5. Lanyer: The Dark Lady and the Shades of Fiction -- , 6. Archival Bodies, Novel Interpretations , and the Burden of Margaret Cavendish -- , Section II: Materializing Authorship -- , 7. Bess of Hardwick: Materializing Autobiography -- , 8. The Queen as Artist: Elizabeth Tudor and Mary Stuart -- , 9. "Very Secret Kept": Facts and Re- Creation in Margaret Hannay's Biographies of Mary Sidney and Mary Wroth -- , 10. Imagining Shakespeare's Sisters : Fictionalizing Mary Sidney Herbert and Mary Sidney Wroth -- , 11. Anne Boleyn, Musician: A Romance Across Centuries and Media -- , Section III: Performing Gender -- , 12. Reclaiming Her Time : Artemisia Gentileschi Speaks to the Twenty-First Century -- , 13. Beyond the Record: Emilia and Feminist Historical Recovery -- , 14. Writing, Acting, and the Notion of Truth in Biofiction About Early Modern Women Authors -- , 15. Jesusa Rodríguez's Sor Juana Inés de la Cruz : Reflections on an Opaque Body -- , Section IV: Authoring Identity -- , 16. From Hollywood Film to Musical Theater : Veronica Franco in American Popular Culture -- , 17. The Role of Art in Recent Biofiction on Sofonisba Anguissola -- , 18. "I am Artemisia": Art and Trauma in Joy McCullough's Blood Water Paint -- , 19. The Lady Arbella Stuart, a "Rare Phoenix" : Her Re-Creation in Biography and Biofiction -- , 20. The Gossips' Choice : Extending the Possibilities for Biofiction with Creative Uses of Sources -- , 21. Afterword -- , Index , English

Weitere Ausg.: Print version: Fitzmaurice, James Authorizing Early Modern European Women Amsterdam : Amsterdam University Press,c2021

Sprache: Englisch

DOI: 10.1515/9789048552900

URL: lizenzpflichtig

URL: https://www.cambridge.org/core/product/identifier/9789048552900/type/BOOK

UID:

Umfang: vii, 221 Seiten : , Illustrationen.

ISBN: 978-1-4766-6887-1

Inhalt: "This collection of 23 new essays focuses on the lives of female screenwriters of Golden Age Hollywood, whose work helped create unforgettable stories and characters beloved by generations of audiences - but whose names have been left out of most film histories."... (cover)

Anmerkung: Includes bibliographical references and index

Weitere Ausg.: Erscheint auch als Online-Ausgabe ISBN 978-1-4766-3277-3

Sprache: Englisch

Fachgebiete: Allgemeines

Schlagwort(e): Drehbuchautorin ; Aufsatzsammlung ; Aufsatzsammlung

UID:

Umfang: 1 online resource (164 p.)

ISBN: 0-415-64267-1 , 0-203-08077-7 , 1-136-16948-2 , 1-136-16949-0

Inhalt: "Screenwriting has been the subject of a wealth of popular literature that seeks to offer this work to all, to reveal the 'secrets' of screenwriting or to provide accounts of how to succeed in the mainstream screen production industries, primarily in Hollywood. But the deluge of How-to style manuals and interview collections offer little systematic analysis of the histories, practices, identities and subjects which form and shape the daily working lives of screenwriters. Screenwriting work demands particular and complex forms of subjectivity in order to distinguish it from other forms of filmmaking and writing, to make the work knowable and do-able. This book analyzes the ways in which screenwriters navigate and make sense of the labor markets in which they are immersed. Drawing on historical and critical perspectives of mainstream screenwriting in the USA and UK, as well as empirical data drawn from interviews, labour market and textual analysis, this book presents an original and multi-faceted case study of screenwriting as creative labor and professional practice. Using a range of theoretical approaches and an interdisciplinary methodological framework, it examines both the structural and subjective features of screenwriting work and it analyzes not only who has access to the work, but also who is excluded from this profession"--

Anmerkung: Description based upon print version of record. , Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgements; Introduction: Setting the scene; 1 Screenwriting histories and myths of the profession; 2 Screenwriting as creative labor; 3 Screenwriters' working lives; 4 Screenwriting work and the how-to genre; 5 Screenwriting work: Who's in and who's out?; Conclusion: Screenwriting as good work; Appendix 1: How-to titles and authors; Appendix 2: Indicative publishing information for five 'guru' how-to text; Bibliography; Index , English

Weitere Ausg.: ISBN 0-415-64265-5

Weitere Ausg.: ISBN 1-306-66166-8

Sprache: Englisch

DOI: 10.4324/9780203080771

UID:

Umfang: 1 electronic resource (vii, 155 pages)

ISBN: 9780203080771 , 0203080777 , 9781136169489 , 1136169482 , 9781136169496 , 1136169490 , 9781136169427 , 1136169423

Inhalt: "Screenwriting has been the subject of a wealth of popular literature that seeks to offer this work to all, to reveal the 'secrets' of screenwriting or to provide accounts of how to succeed in the mainstream screen production industries, primarily in Hollywood. But the deluge of How-to style manuals and interview collections offer little systematic analysis of the histories, practices, identities and subjects which form and shape the daily working lives of screenwriters. Screenwriting work demands particular and complex forms of subjectivity in order to distinguish it from other forms of filmmaking and writing, to make the work knowable and do-able. This book analyzes the ways in which screenwriters navigate and make sense of the labor markets in which they are immersed. Drawing on historical and critical perspectives of mainstream screenwriting in the USA and UK, as well as empirical data drawn from interviews, labour market and textual analysis, this book presents an original and multi-faceted case study of screenwriting as creative labor and professional practice. Using a range of theoretical approaches and an interdisciplinary methodological framework, it examines both the structural and subjective features of screenwriting work and it analyzes not only who has access to the work, but also who is excluded from this profession"--

Anmerkung: 1. Screenwriting histories and myths of the profession -- 2. Screenwriting as creative labor -- 3. Screenwriters' working lives -- 4. Screenwriting work and the how-to genre -- 5. Screenwriting work : who's in and who's out?

Weitere Ausg.: Print version: Screenwriting London ; Routledge, Taylor & Francis Group, 2014. ISBN 9780415642651 (hbk)

Sprache: Englisch

Schlagwort(e): Electronic books

URL: https://www.taylorfrancis.com/books/9780203080771

URL: kostenfrei

URL: kostenfrei

UID:

Umfang: X, 258 S. : , Ill.

ISBN: 978-0-8135-6262-9 , 978-0-8135-6261-2

Serie: New directions in international studies

Inhalt: Documents the untold story of the American directors, screenwriters, and actors who emigrated to Europe as a result of the Hollywood blacklist. During the 1950s and early 1960s, these Hollywood exiles directed, wrote, or starred in almost 100 European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (dir. Jules Dassin, 1955) to international blockbusters such as The Bridge on the River Kwai (scr. Carl Foreman and Michael Wilson, 1957) to acclaimed art films like The Servant (dir. Joseph Losey, 1963). At once a lively portrait of a lesser-known American "lost generation" and an examination of an important transitional moment in European cinema,the book presents a compelling argument for the significance of the blacklisted exiles to our understanding of postwar American and European cinema and Cold War cultural relations. The experiences of the blacklisted in Europe not only suggest the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon, but, by shedding new light on European cinema's changing relationship with Hollywood, illuminates the postwar shift from national to "transnational" cinema"

Anmerkung: Includes bibliographical references and index

Sprache: Englisch

Schlagwort(e): Amerikaner ; Schwarze Liste ; Filmwirtschaft ; Bibliografie

UID:

Umfang: 1 online resource

ISBN: 9780231551434

Serie: Film and Culture Series

Inhalt: Today, the director is considered the leading artistic force behind a film. The production of a Hollywood movie requires the labor of many people, from screenwriters and editors to cinematographers and boom operators, but the director as author of the film overshadows them all. How did this concept of the director become so deeply ingrained in our understanding of cinema?In Hollywood’s Artists, Virginia Wright Wexman offers a groundbreaking history of how movie directors became cinematic auteurs that reveals and pinpoints the influence of the Directors Guild of America (DGA). Guided by Frank Capra’s mantra “one man, one film,” the Guild has portrayed its director-members as the creators responsible for turning Hollywood entertainment into cinematic art. Wexman details how the DGA differentiated itself from other industry unions, focusing on issues of status and creative control as opposed to bread-and-butter concerns like wages and working conditions. She also traces the Guild’s struggle for creative and legal power, exploring subjects from the language of on-screen credits to the House Un-American Activities Committee’s investigations of the movie industry. Wexman emphasizes the gendered nature of images of the great director, demonstrating how the DGA promoted the idea of the director as a masculine hero. Drawing on a broad array of archival sources, interviews, and theoretical and sociological insight, Hollywood’s Artists sheds new light on the ways in which the Directors Guild of America has shaped the role and image of directors both within the Hollywood system and in the culture at large.

Anmerkung: Frontmatter -- , Contents -- , Acknowledgments -- , Introduction -- , CHAPTER ONE. Directors as Artists: The DGA Rides the Wave -- , CHAPTER TWO. Charisma and Competition: The DGA Stakes Its Claim -- , CHAPTER THREE. Recognition: The DGA Takes Credit -- , CHAPTER FOUR. Politics: The DGA Stages HUAC -- , CHAPTER FIVE. Law: The DGA and Artists as Owners -- , Conclusion -- , Appendix A: Beyond Creative Rights -- , Appendix B: Chronology of the Directors Guild of America -- , Appendix C: Officers of the Directors Guild of America -- , Appendix D: Chronology of the Artists Rights Foundation -- , Notes -- , Bibliography -- , Index -- , FILM AND CULTURE , In English.

Sprache: Englisch

DOI: 10.7312/wexm19568

URL: https://doi.org/10.7312/wexm19568

URL: https://www.degruyter.com/isbn/9780231551434

URL: Volltext  (URL des Erstveröffentlichers)

URL: https://doi.org/10.7312/wexm19568

URL: https://www.degruyter.com/isbn/9780231551434

URL: lizenzpflichtig

URL: lizenzpflichtig

URL: Cover

UID:

Umfang: 1 Online-Ressource

ISBN: 9780822395331

Inhalt: In an innovative cultural history of Argentine movies and radio in the decades before Peronism, Matthew B. Karush demonstrates that competition with jazz and Hollywood cinema shaped Argentina's domestic cultural production in crucial ways, as Argentine producers tried to elevate their offerings to appeal to consumers seduced by North American modernity. At the same time, the transnational marketplace encouraged these producers to compete by marketing "authentic" Argentine culture. Domestic filmmakers, radio and recording entrepreneurs, lyricists, musicians, actors, and screenwriters borrowed heavily from a rich tradition of popular melodrama. Although the resulting mass culture trafficked in conformism and consumerist titillation, it also disseminated versions of national identity that celebrated the virtue and dignity of the poor, while denigrating the wealthy as greedy and mean-spirited

Anmerkung: English

Sprache: Englisch

URL: kostenfrei