Analysing the Screenplay

Enhanced descriptions from Syndetics:

Most producers and directors acknowledge the crucial role of the screenplay, yet the film script has received little academic attention until recently, even though the screenplay has been in existence since the end of the 19th century.

Analysing the Screenplay highlights the screenplay as an important form in itself, as opposed to merely being the first stage of the production process. It explores a number of possible approaches to studying the screenplay, considering the depth and breadth of the subject area, including:

Analysing the Screenplay is a comprehensive anthology, offering a global selection of contributions from internationally renowned, specialist authors. Together they provide readers with an insight into this fascinating yet complex written form.

This anthology will be of interest to undergraduate and postgraduate students on a range of Film Studies courses, particularly those on scriptwriting.

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Table of contents provided by Syndetics

• List of figures (p. ix)
• List of contributors (p. x)
• Acknowledgements (p. xiii)
• 1 Introduction (p. 1)
• Part I History of the form (p. 5)
• 2 Entertaining the public option: the popular film writing movement and the emergence of writing for the American silent cinema (p. 7)
• 3 Screenwriters who shaped the Pre-Code woman and their struggle with censorship (p. 24)
• 4 Screenwriting in Britain 1895-1929 (p. 44)
• Part II Development, craft and process (p. 69)
• 5 An impossible task? Scripting The Chilian Club (p. 71)
• 6 Boards, beats, binaries and bricolage: approaches to the animation script (p. 89)
• 7 The flexibility of genre: the action-adventure film in 1939 (p. 106)
• Part III Alternatives to the conventional screenplay form (p. 25)
• 8 'Let the audience add up two plus two. They'll love you forever.': The screenplay as a self-teaching system (p. 127)
• 9 The screenplay as prototype (p. 142)
• 10 A similar sense of time: the collaboration between writer Jon Raymond and director Kelly Reichardt in Old Joy and Wendy and Lucy (p. 158)
• 11 On screenwriting outside the West (p. 175)
• Part IV Theoretical and critical approaches (p. 199)
• 12 Character in the screenplay text (p. 201)
• 13 Realism and screenplay dialogue (p. 217)
• 14 Analysing the screenplay: a comparative approach (p. 237)
• 15 Beyond McKee: screenwriting in and out of the academy (p. 251)
• Index (p. 263)