Alternative scriptwriting beyond the Hollywood formula
Learn the rules of scriptwriting, and then how to successfully break them.Unlike other screenwriting books, this unique guide pushes you to challenge yourself and break free of tired, formulaic writing--bending or breaking the rules of storytelling as we know them. Like the best-selling previous edi...
| Otros Autores: | , |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, Mass. ; Abingdon, Oxon :
Focal Press
2013.
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| Edición: | 5th ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009628474906719 |
Tabla de Contenidos:
- Front Cover; Alternative Scriptwriting Beyond the Hollywood Formula; Copyright Page; Contents; Preface; Acknowledgments for the Fifth Edition; Introduction; Chapter 1. Beyond the Rules; Structure; Chapter 2. Structure; Chapter 3. Critique of Restorative Three-Act Form; Chapter 4. Counter-Structure; Chapter 5. More Thoughts on Three Acts: Fifteen Years Later; Chapter 6. Narrative and Anti-Narrative: The Case of the Two Stevens; Chapter 7. Multiple Threaded, Long-Form Television Serial Scripts; Genre; Chapter 8. Why Genre?; Chapter 9. Working with Genre I
- Chapter 10. Working with Genre II: The Melodrama and the ThrillerChapter 11. Working Against Genre; Chapter 12. The Flexibility of Genre; Chapter 13. Genres of Voice; Chapter 14. The Non-Linear Film; Chapter 15. The Fable: A Case Study of Darkness: The Wizard of Oz and Pan's Labyrinth; Character; Chapter 16. Reframing the Active/ Passive Character Distinction; Chapter 17. Stretching the Limits of Character Identification; Chapter 18. Main and Secondary Characters; Chapter 19. Subtext, Action, and Character; Chapter 20. The Primacy of Character Over Action: The Non-American Screenplay
- Form, Tone, and TheoryChapter 21. The Subtleties and Implications of Screenplay Form; Chapter 22. Agency and the Other; Chapter 23. Character, History, and Politics; Chapter 24. Tone: The Inescapability of Irony; Chapter 25. Dramatic Voice/Narrative Voice; Chapter 26. Digital Features; Chapter 27. Writing the Narrative Voice; Chapter 28. Rewriting; Chapter 29. Adaptations from Contemporary Literature; Conclusion; Chapter 30. Personal Scriptwriting: The Edge; Chapter 31. Personal Scriptwriting: Beyond the Edge; Index
