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Table of Contents
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: 19161949
17. A Historiography of Japanese Screenwriting
18. Writing Social Relevance: U.S. Television Dramas in the Civil Rights Era
19. Horror Bubbles: Andrs Caicedos 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. Thats a Chicks 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 Showrunners 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.
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: 19161949
17. A Historiography of Japanese Screenwriting
18. Writing Social Relevance: U.S. Television Dramas in the Civil Rights Era
19. Horror Bubbles: Andrs Caicedos 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. Thats a Chicks 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 Showrunners 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.