The Screenplay Business: Managing creativity in script development in the contemporary British independent film industry

A screenplay is sometimes said to be a blueprint for a film, and its genesis and development is therefore important to our understanding of how films are created. Film business studies has traditionally avoided close study of the screenplay development process, perhaps as a result of the film studies emphasis on analysing the text of the completed film, and the auteur theory emphasis on the importance of the director; both of which may have marginalised the study of development and the creativity of development practitioners. Professional screenplay development is a team activity, with creative collaboration between screenwriters, producers, development executives, financiers, and directors. So how does power and creative control shift between members of this team, especially as people arrive or leave? And how does this multiple authorship affect the auteur theory idea that the director is the creative author of the film? This research sets out to open debates around the process and nature of the business of script development, and consider how development practitioners experience, collaborate and participate in the process of screenplay development in the UK today. It uses original interviews, observation and hermeneutic reflection; and asks how cross-disciplinary ideas around creativity, managing creative people, motivation, organisational culture, and team theory could be used to consider how the creative team of writer, producer, director and development executive can work effectively together. It proposes new theories, including defining the independent film value chain and the commitment matrix, analysing changing power relationships during development, and establishing new typologies around film categories and their relationship to funding. The core of this PhD by Prior Publication is the book The Screenplay Business: managing creativity and script development in the film industry. The supporting paper explores the contexts of film industry studies; the film value chain; auteurship and screenplay studies

The Creative Process of Enarotali Dreams, a Screenplay

This paper is about a project on a screenplay. In my screenplay, I talk about a girl from Java who has to work in remote area in Papua Island. The girl is a volunteer teacher who has to survive to teach the students who are very different from students in Java. To develop the screenplay, I used two theories, namely culture shock and maturation. I use these two theories because in the main character experiences culture shock and maturation whe she does her voluntary teaching in Papua. To collect data, I use survey to Eranotali, Papua and libary research on Papua and its cultures. I find the theories and survey as well as libary research help me during the creative process. The theories help me develop realistic characters; while the survey and library research help me picture Eranotali as realistic as possible. I believe that when the screenplay is made into film, the audience will get the feel of Enarotali and ‘experience\u27 the main character\u27s jurne

Project: Screenplay Metamorphosis

This paper explains the processes and the result of my final project in a form of screenplay entitled Metamorphosis. The screenplay is a story of a man, Johan Tanuwijaya who transforms from a psychologically sound man to a psychologically disturbed man. To develop my story, I used trauma as one of the themes and the theories. At first, he experienced traumatic childhood, then he recovered until his adulthood and marriage life, where he married his dire attention-seeker wife, Renata. Slowly, he was thrown back to his childhood trauma and that drove him insane. Eventually, he killed his wife and he created another himself in his daughter. From this screenplay I expect that people will have new principles and views about domestic violence and abuse, so that Indonesian society will have improvements in the futur

Project: Screenplay Finding Andy

This paper is about my screenplay entitled Finding Andy which I use as my final project. The screenplay itself is a story about a teenage girl who wants to improve her family's poor communication. For my theory, I use John Gottman's “The Four Horsemen of the Apocalypse Model” about family conflict. The theory helps me to shape my characters' behavior towards each others. Since my characters has better relationship even though the brother dies in the end, I tend to use the worst level of family conflict in the beginning of the story and it gradually changes into successful communication which leads to good relationship. The theory helps me to give example of family's poor communication to the audiences. I also do an observation on some families with poor communications and Rangkah Rejo neighborhood in Eastern Surabaya to build the setting's circumstances. From this creative work, I expect that it is made into films, like what screenplay is for, so that the audiences realize that this kind of family exists

Review of The Screenplay: Authorship, Theory and Criticism , by Steven Price (Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2010), xvi + 209 pages.

A review of The Screenplay: Authorship, Theory and Criticism by Steven Price (Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2010), xvi + 209 pages

Project: Screenplay Going Home

This paper explained the process and the result of my final project which is a screenplay entitled Going Home. The screenplay is about Dahlia, a thirteen-year-old girl who was born and grew up in Australia. Then, she has to return to Jakarta, Indonesia and continue her education in Indonesia. She has an assignment about history of Indonesia. She needs to write one of heroic history of Indonesia with her own words and write her reflection about it. Once, she goes to Surabaya for a holiday and stays at Majapahit Hotel Surabaya. In the hotel, she experiences the past life about several historical moments by going back and forth to a past life and present life. After experiencing it, she can feel and understand the spirit of the Indonesian revolutionary heroes. She respects Indonesia heroes more. Also, she can encourage her friends to love Indonesia better and to blend in diverse group of ethnics as strong and one Indonesian who support to improve Indonesia. I would like to show that young generations are now lack the spirit to build their country. They forget to become one; One Land, One Nation, One Language. This creative work focuses on how history of Indonesia can help young generations to gain the spirit of Indonesian revolutionary heroes to love and improve Indonesia. To put this issue into a form of entertainment, I decided to make a screenplay which type of genre is adventure fantasy

Journalismus und Presse im Film : eine Filmographie

Journalismus und Presse im Film: Eine Filmographie. Zusammengestellt von Hans J. Wulf

Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s The Comfort of Strangers

The article centres upon Pinter’s creative adaptation of McEwan’s deeply allusive and disquieting text probing, amongst others, the intricacies and tensions of gender relations and sexual intimacy. It examines the screenplay-regarded by many critics as not merely an adaptation of the novel but another, very powerful work of art-addressing Pinter’s method as an adapter and highlighting the artist’s imaginative attempts at fostering a better appreciation of the connections between authoritarian impulses, love and justice. Similarly to a number of other Pinter filmscripts and plays of the 1980s and 1990s, the erotic and the lethal alarmingly intersect in this screenplay where the ostensibly innocent-an unmarried English couple on a holiday in Venice, who are manipulated, victimized and, ultimately, destroyed-are subtly depicted as partly complicit in their own fates

How does one do a Practice-Based PhD in Filmmaking?

This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional filmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional filmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all filmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large extent is formed by social science measures of value. Using this framework as a starting point we attempted to identify a suitable model that would enable filmmakers to undertake practice-based doctoral research

The Story of a Well Written Screenplay

Undergraduate Textual or Investigativ