Many people scoff at the idea of defending the screenplay as a form of literature.” — James F. Boyle1 Overview. Numerous factors have contributed to the marginalization of the screenplay as an object of academic study. Those factors will be explored and challenged here. Instead of viewing these as impediments to research, we will examine …
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Permanent link to this article: https://www.screenplayology.com/content-sections/paths-problems-in-screenplay-studies/
1.3. the director and the screenplay
“The main questions a director must answer are: ‘where do I put the camera?’ and ‘what do I tell the actors?’” — David Mamet1 1.3.1. Overview. Screenplays have many readers, but one person’s reading matters more than any other: the director’s. In script analysis, the triangular relationship between the director, the cast and crew, and …
Permanent link to this article: https://www.screenplayology.com/content-sections/screenplay-style-use/1-3/
3. elements of screenplay form
The filmic elements of a screenplay are derived from the nature of the motion picture art form. They are the result of the medium’s ability to move, its ability to create both a time and a space that do not exist in reality, and its ability to present imagery and sound as abstractions of reality. …
Permanent link to this article: https://www.screenplayology.com/content-sections/screenplay-form-content/
1.2. screenplay function and readability
Different types of readers are associated with the three functional text stages: property, blueprint and reading material.” — Claudia Sternberg1 1.2.1. Overview. As we discussed in the previous section, the rise of the Package-Unity System of production management brought about the division of the screenplay into two functional iterations, the master scene script and the …
Permanent link to this article: https://www.screenplayology.com/content-sections/screenplay-style-use/1-2/