Alternative scriptwriting : beyond the Hollywood formula /
By: Dancyger, Ken
Title By: Rush, Jeff
Material type:![](/opac-tmpl/lib/famfamfam/BK.png)
Item type | Home library | Call number | Status | Date due | Barcode | Item holds |
---|---|---|---|---|---|---|
REGULAR | University of Wollongong in Dubai Main Collection | 808.23 DA AL (Browse shelf) | Available | T0037059 |
, Shelving location: Main Collection Close shelf browser
INTRODUCTION Beyond the Rules STRUCTURE Structure Critique or Restorative. Three-Act Form Counter Structure More Thoughts on Three Acts: 15 Years Later Narrative and Anti-Narrative: The case of the two Stevens: The Work of Steven Spielberg and Steven Soderbergh Multiple Thread Long Form Televisoin Serial Scripts GENRE Why Genre? (New chapter) Working with Genre I Working with Genre II: The Melodrama and the Thriller 11.Working Against Genre 12. The Flexibility of Genre )New chapter) 13. Genres of Voice 14. The Non-Linear Film 15. The Fable: A case study of Darkness: The Wizard of Oz and Pan's Labyrinth (New chapter) CHARACTER 16. Reframing the Active/Passive Character Distinction 17. Stretching the Limits of Character Identification 18. Main and Secondary Characters 19. Subtext, Action and Character 20. The Primacy of Character over Action: The Non-American Screenplay. FORM, TONE AND THEORY 21. The Subtleties and Implications of Screenplay Form 22. Agency and the Other 23. Character, History and Politics 24. Tone: The Inescapability of Irony 25. Dramatic Voice, Narrative Voice 26. Digital Features 27. Writing the Narrative Voice 28. Rewriting 29. Adaptations from Contemporary Literature CONCLUSION 30. Personal Screenwriting: The Edge 31. Personal Screenwriting" Beyond the Edge.