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001			188237
003			IT-RoAPU
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008			220426t20211988txu fo d z eng d
020			_a9780292759589 _qPDF
024	7		_a10.7560/785144 _2doi
035			_a(DE-B1597)9780292759589
035			_a(DE-B1597)588125
035			_a(OCoLC)1280943203
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aPER000000 _2bisacsh
084			_aonline - DeGruyter
100	1		_aBrady, Ben _eautore
245	1	4	_aThe Understructure of Writing for Film and Television / _cBen Brady, Lance Lee.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©1988
300			_a1 online resource (282 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tPreface -- _tAcknowledgments -- _tPart One. Getting on Your Feet -- _t1. Your Dramatic Heritage -- _t2. What Is a Dramatic Conflict -- _t3. What Is a Scene -- _t4. Camera Language and Format -- _tPart Two. Developing Character and Conflict -- _t5. Introduction -- _t6. Establishing Character and Conflict -- _t7. Developing Character and Conflict to Crisis -- _t8. Achieving Crisis and Climax -- _t9. Handling Dialogue, Theme, Values, and Moral Urgency -- _t10. Writing the Miniscreenplay -- _t11. A Last Word -- _tAppendix: The Market -- _tGlossary of Film Terms -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aThis 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aCreative writing.
650		0	_aDrama _xTechnique.
650		0	_aMotion picture authorship.
650		0	_aPlaywriting.
650		0	_aTelevision authorship.
650		7	_aPERFORMING ARTS / General. _2bisacsh
700	1		_aLee, Lance _eautore
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/785144
856	4	0	_uhttps://www.degruyter.com/isbn/9780292759589
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780292759589/original
942			_cEB
999			_c188237 _d188237