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The Understructure of Writing for Film and Television / Ben Brady, Lance Lee.

By: Contributor(s): Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©1988Description: 1 online resource (282 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292759589
Subject(s): Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Preface -- Acknowledgments -- Part One. Getting on Your Feet -- 1. Your Dramatic Heritage -- 2. What Is a Dramatic Conflict -- 3. What Is a Scene -- 4. Camera Language and Format -- Part Two. Developing Character and Conflict -- 5. Introduction -- 6. Establishing Character and Conflict -- 7. Developing Character and Conflict to Crisis -- 8. Achieving Crisis and Climax -- 9. Handling Dialogue, Theme, Values, and Moral Urgency -- 10. Writing the Miniscreenplay -- 11. A Last Word -- Appendix: The Market -- Glossary of Film Terms -- Index
Summary: This unique, comprehensive introduction to screenwriting offers practical advice for the beginning writer, whether college student or freelancer. Based on their experience as professional writers and as teachers in a large, successful screenwriting program at California State University, Northridge, the authors provide a progression of assignments at manageable screenwriting lengths for beginners. They lead students through development of a premise, treatment, stepsheet, and, finally, miniscreenplay—essential elements in writing a longer script. A major feature of the text is the use of many example scenes from contemporary and classic American films, such as On the Waterfront, Kramer vs. Kramer, The Godfather, The Graduate, Tootsie, and more. Other scenes are drawn from international films and dramatic literature. The criticism of these scenes invites students to develop their own comparative models, while simultaneously providing exposure to the central analytical terms of good dramatic writing. The authors also place screenwriting within the larger tradition of dramatic writing in order to put the beginning writer in touch with the wealth of art, experience, and practical ideas the drama contains. They provide an up-to-date, practical discussion of marketing and copywriting a screenplay, with addresses of relevant professional societies. Most importantly, they never offer an ill-advised shortcut or restrict students to only one way of thinking about a character, situation, or scene. In The Understructure of Writing for Film & Television, the student's thought and creativity are central.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292759589

Frontmatter -- Contents -- Preface -- Acknowledgments -- Part One. Getting on Your Feet -- 1. Your Dramatic Heritage -- 2. What Is a Dramatic Conflict -- 3. What Is a Scene -- 4. Camera Language and Format -- Part Two. Developing Character and Conflict -- 5. Introduction -- 6. Establishing Character and Conflict -- 7. Developing Character and Conflict to Crisis -- 8. Achieving Crisis and Climax -- 9. Handling Dialogue, Theme, Values, and Moral Urgency -- 10. Writing the Miniscreenplay -- 11. A Last Word -- Appendix: The Market -- Glossary of Film Terms -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

This unique, comprehensive introduction to screenwriting offers practical advice for the beginning writer, whether college student or freelancer. Based on their experience as professional writers and as teachers in a large, successful screenwriting program at California State University, Northridge, the authors provide a progression of assignments at manageable screenwriting lengths for beginners. They lead students through development of a premise, treatment, stepsheet, and, finally, miniscreenplay—essential elements in writing a longer script. A major feature of the text is the use of many example scenes from contemporary and classic American films, such as On the Waterfront, Kramer vs. Kramer, The Godfather, The Graduate, Tootsie, and more. Other scenes are drawn from international films and dramatic literature. The criticism of these scenes invites students to develop their own comparative models, while simultaneously providing exposure to the central analytical terms of good dramatic writing. The authors also place screenwriting within the larger tradition of dramatic writing in order to put the beginning writer in touch with the wealth of art, experience, and practical ideas the drama contains. They provide an up-to-date, practical discussion of marketing and copywriting a screenplay, with addresses of relevant professional societies. Most importantly, they never offer an ill-advised shortcut or restrict students to only one way of thinking about a character, situation, or scene. In The Understructure of Writing for Film & Television, the student's thought and creativity are central.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)