LEADER 03750oam 2200673I 450 001 9910785395703321 005 20230725025202.0 010 $a1-136-91244-4 010 $a1-136-91245-2 010 $a1-282-88603-7 010 $a9786612886034 010 $a0-203-84338-X 024 7 $a10.4324/9780203843383 035 $a(CKB)2670000000052080 035 $a(EBL)589623 035 $a(OCoLC)670411837 035 $a(SSID)ssj0000411771 035 $a(PQKBManifestationID)11277807 035 $a(PQKBTitleCode)TC0000411771 035 $a(PQKBWorkID)10357915 035 $a(PQKB)10134271 035 $a(MiAaPQ)EBC589623 035 $a(Au-PeEL)EBL589623 035 $a(CaPaEBR)ebr10422143 035 $a(CaONFJC)MIL288603 035 $a(OCoLC)679724712 035 $a(EXLCZ)992670000000052080 100 $a20180706d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aAnalysing the screenplay /$fedited by Jill Nelmes 205 $aFirst edition. 210 1$aNew York, N.Y. :$cRoutledge,$d2011. 215 $a1 online resource (288 p.) 300 $aDescription based upon print version of record. 311 $a0-415-55634-1 311 $a0-415-55633-3 320 $aIncludes filmography. 320 $aIncludes bibliographical references and index. 327 $aBook Cover; Title; Copyright; Contents; Figures; Contributors; Acknowledgements; Chapter 1 Introduction; Part 1 History of the form; Chapter 2 Entertaining the public option: The popular film writing movement and the emergence of writing for the American silent cinema; Chapter 3 Screenwriters who shaped the Pre-Code woman and their struggle with censorship; Chapter 4 Screenwriting in Britain 1895-1929; Part II Development, craft and process; Chapter 5 An impossible task?: Scripting The Chilian Club; Chapter 6 Boards, beats, binaries and bricolage: Approaches to the animation script 327 $aChapter 7 The flexibility of genre: The action-adventure film in 1939Part III Alternatives to the conventional screenplay form; Chapter 8 'Let the audience add up two plus two. They'll love you forever.': The screenplay as a self-teaching system; Chapter 9 The screenplay as prototype; Chapter 10 A similar sense of time: The collaboration between writer Jon Raymond and director Kelly Reichardt in Old Joy and Wendy and Lucy; Chapter 11 On screenwriting outside the West; Part IV Theoretical and critical approaches; Chapter 12 Character in the screenplay text 327 $aChapter 13 Realism and screenplay dialogueChapter 14 Analysing the screenplay: A comparative approach; Chapter 15 Beyond McKee: Screenwriting in and out of the academy; Index 330 $aMost 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: the history and early dev 606 $aMotion picture authorship 606 $aMotion picture plays$xTechnique 615 0$aMotion picture authorship. 615 0$aMotion picture plays$xTechnique. 676 $a809.2/3 701 $aNelmes$b Jill$f1954-$01484355 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910785395703321 996 $aAnalysing the screenplay$93702958 997 $aUNINA