Modern society is a tangled skein of interdependent lives. Yet somehow them ore closely we encounter each other, the less we resemble a community. This play is about our overwhelming need for trust in modern life, and the consequences of living without it. Based on the award-winning play by Andrew Bovell, 'Speaking in Tongues'. (6 male, 5 female).

'I give this as a present more than other book. I buy it for people so often that I’ve been known to give girlfriends two copies, one birthday after another’ - Dolly Alderton

Now with an introduction from Dolly Alderton, author of Everything I Know About Love, revealing how a new generation of women can take inspiration from Nora’s sharp wit and wisdom about life.

* Never marry a man you wouldn't want to be divorced from.

* If the shoe doesn't fit in the shoe store, it's never going to fit.

* When your children are teenagers, it's important to have a dog so that someone in the house is happy to see you.

* If only one third of your clothes are mistakes, you're ahead of the game.

* Anything you think is wrong with your body at the age of thirty-five you will be nostalgic for by the age of forty-five.

Woody Allen, who first became famous as a stand up comedian and a writer of comedy routines, has also had a distinguished career as a playwright and screenwriter/director. Allen owes his celebrity status primarily to his critically acclaimed films, such as Manhattan, Hannah and her Sisters, and Crimes and Misdemeanors. In Woody Allen: A Casebook, Kimball King, has selected major plays and films by Woody Allen and has chosen well-known scholars to examine their complexities in detail. Allen's sophisticated movie musical scores as well as his thoughtful studies of American character and life are analyzed by contemporary critics, such as William Hutchings, Tom Sahy, and King himself. The result is a volume that surveys artistic highpoints of the Allen canon and illustrates the creative impact of Allen's works on audiences and readers.

Essays explore many aspects of the teen detective series, including Veronica Mars and vintage television; the search for the mother; fatherhood; how the show relates to the classical Greek paradigm; feminist anger and vigilante justice; the anti-hero's journey; the intergenerational audience; rape narrative and meaning; and television fandom, among others.

Comedy

Characters: 3 male, 8 female

Interior Set

Allan Felix has this thing about Humphrey Bogart. If only he had some of Bogart's technique... Bookish and insecure with women, Allan's hero, Bogey comes to the rescue, with a fantastic bevy of beauties played out in hilarious fantasy sequences. Fixed up by friends with gorgeous women, he's so awkward that even Bogey's patience is tried. Allan mostly resembles a disheveled, friendly dog and this is what ultimately charms his best friend's wife, Linda into bed. It's a tough life, making it in the world of beautiful people but if you can't be a hero it helps to have one...

"Hilarious...a cheerful romp. Not only are Mr. Allen's jokes and their follow ups, asides and twists audaciously brilliant, but he has a great sense of character."-The New York Times

"A funny, likeable comedy that has a surprising amount of wistful appeal."-New York Post

This book examines the processes of adaptation across a number of intriguing case studies and media. Turning its attention from the 'what' to the 'how' of adaptation, it serves to re-situate the discourse of adaptation studies, moving away from the hypotheses that used to haunt it, such as fidelity, to questions of how texts, authors and other creative practitioners (always understood as a plurality) engage in dialogue with one another across cultures, media, languages, genders and time itself. With fifteen chapters across fields including fine art and theory, drama and theatre, and television, this interdisciplinary volume considers adaptation across the creative and performance arts, with a single focus on the collaborative.

This thorough account of the life and films of the Spanish-Basque filmmaker Julio Medem is the first book in English on the internationally renowned writer-director of Vacas, La ardilla roja (Red Squirrel), Tierra, Los amantes del Circulo Polar (Lovers of the Arctic Circle), Lucia y el sexo (Sex and Lucia), La pelota vasca: la piel contra la piedra (Basque Ball) and Caotica Ana (Chaotic Ana), Initial chapters explore Medem's childhood, adolescence and education and examine his earliest short films and critical writings against a background of a dramatically changing Spain. Later chapters provide accounts of the genesis, production and release of Medem's challenging and sensual films, which feed into complex but lucid analyses of their meanings, both political and personal, in which Stone draws on traditions and innovations in Basque art, Spanish cinema and European philosophy to create a complete and provocative portrait of Medem and his work. -- .

In 1980, Syrian filmmaker Mohammad Malas traveled to Lebanon to film a documentary of interviews with Palestinians of the refugee camps around Beirut about their dreams. The Dream: A Diary of the Film is Malas's haunting chronicle of his immersion in the life of the camps, including Shatila, Burj al-Barajneh, Nahr al-Bared, and Ein al-Helweh. It also describes the filmmaking process, from the research stage to the film's unofficial release, in Shatila Camp, before it reached a global audience. In vivid and poetic detail, Malas provides a snapshot of Palestinian refugees at a critical juncture of Lebanon's bloody civil war, and at the height of the PLO's power in Lebanon before the 1982 Israeli invasion and the PLO's subsequent expulsion. Malas probes his subjects' dreams and existential fears with an artist's acute sensitivity, revealing the extent to which the wounds and contingencies of Palestinian statelessness are woven into the tapestry of a fragmented Arab nationalism. Although he halted his work on the film in 1982, following the massacres of Sabra and Shatila, he completed it in 1987, turning 400 interviews into 23 dreams and 45 minutes of screen time. Both diary and film present these people somewhere between present and past tense, but they are preserved forever in the word, magnetic tape, and now in digital code. The Dream is essential reading for anyone interested in the history of the Palestinians in the modern Middle East, and for students and scholars of Arab filmmaking, politics, and literature.

This handbook is an essential creative, critical and practical guide for students and educators of screen production internationally. It covers all aspects of screen production-from conceptualizing ideas and developing them, to realizing and then distributing them-across all forms and formats, including fiction and non-fiction for cinema, television, gallery spaces and the web. With chapters by practitioners, scholars and educators from around the world, the book provides a comprehensive collection of approaches for those studying and teaching the development and production of screen content. With college and university students in mind, the volume purposely combines theory and practice to offer a critically informed and intellectually rich guide to screen production, shaped by the needs of those working in education environments where 'doing' and 'thinking' must co-exist. The Palgrave Handbook of Screen Production fills an important gap in creative-critical knowledge of screen production, while also providing practical tools and approaches for future practitioners.

Anna Kornbluh provides an overview of Marxist approaches to film, with particular attention to three central concepts in Marxist theory in general that have special bearing on film: "the mode of production," "ideology," and "mediation." In explaining how these concepts operate and how they have been used and misused in film studies, the volume employs a case study to exemplify the practice of Marxist film theory. Fight Club is an exceptionally useful text with which to explore these three concepts because it so vividly and pedagogically engages with economic relations, ideological distortion, and opportunities for transformation. At the same time, it is a very typical film in terms of the conditions of its production, its marketing, and its popularity. Adapted from a novel by Chuck Palahniuk, the film is a contemporary classic that has lent itself to significant re-interpretation with every shift in the political economic landscape since its debut. Marxist Film Theory and Fight Club models a detailed cinematic interpretation that students can practice with other films, and furnishes a set of ideas about cinema and society that can be carried into other kinds of study, giving students tools for analyzing culture broadly defined.

" Dark Victory," released in 1939, was a daring movie for its time. it depicted its heroine, Bette Davis, dying of a brain tumor. The film blended romance and realism so successfully that it is still a model for movies about death and dying today.
Bette Davis drew upon every mood she had ever expressed--insouciance, impatience, anger, passion, acquiescence. She worked hard at the role, reveling in a story that, according to her account, she had actively campaigned for. She also benefited greatly by the professional talents of director Edmund Goulding and screenwriter Casey Robinson and a supporting cast that included Humphrey Bogart.

In an eclectic career spanning four decades, Italian director Riccardo Freda (1909-1999) produced films of remarkable technical skill and powerful visual style, including the swashbuckler Black Eagle (1946), an adaptation of Les Miserables (1947), the peplum Teodora, Slave Empress (1954) and a number of cult-favorite Gothic and horror films such as I Vampiri (1957), The Horrible Dr. Hichcock (1962) and The Ghost (1963). Freda was first championed in the 1960s by French critics who labeled him ""the European Raoul Walsh,"" and enjoyed growing critical esteem over the years. This book covers his life and career for the first time in English, with detailed analyses of his films and exclusive interviews with his collaborators and family.

With his recent theatrical success, The Play What I Wrote, Braben shows that the audience for the spirit of the incomparable Eric and Ernie is just as alive today as it was in their glory years. Now, the key figure behind their success, scriptwriter Braben, has written his autobiography - with the inimitable, timeless humour, warmth and affection for Eric and Ernie of that wonderful bygone era which made their classic sketches so successful. From Liverpool to London and on to Snowdonia, Braben peppers his story with wonderful anecdotes about the original straight man and his amiable sidekick. The Book What I Wrote is as much a unique biography of the charismatic Eric and Ernie as it is an autiobiography of the man on whose gags their success was made.

For the first time, Lucasfilm has opened its Archives to present the complete storyboards for the original Star Wars trilogy-the world-changing A New Hope and its operatic sequels, The Empire Strikes Back and Return of the Jedi-as well as never-before-published art from early conceptual and deleted scenes. From the opening chase above Tatooine in A New Hope to the Battle of Endor in Jedi, this book presents the visual inspiration behind now-iconic moments. Readers can finally see a full set of storyboards by legendary artist Joe Johnston, as well as early boards for Episode IV by Alex Tavoularis and for Episode V by Ivor Beddoes, rarely seen Episode VI boards by Roy Carnon, and Ralph McQuarrie's never-before-seen storyboards for Episode V.

From concept to finished draft–a nuts-and-bolts approach to adaptations

Aspiring and established screenwriters everywhere, take note! This down-to-earth guide is the first to clearly articulate the craft of adaptation. Drawing on his own experience and on fourteen years of teaching, screenwriter Richard Krevolin presents his proven five-step process for adapting anything–from novels and short stories to newspaper articles and poems–into a screenplay. Used by thousands of novelists, playwrights, poets, and journalists around the country, this can’t-miss process features practical advice on how to break down a story into its essential components, as well as utilizes case studies of successful adaptations. Krevolin also provides an insider’s view of working and surviving within the Hollywood system–covering the legal issues, interviewing studio insiders on what they are looking for, and offering tips from established screenwriters who specialize in adaptations.

• Outlines a series of stages that help you structure your story to fit the needs of a 120-page screenplay
• Explains how to adapt anything for Hollywood, from a single sentence story idea all the way to a thousand-page novel
• Advises on the tricky subject of just how faithful your adaptation should be
• Features helpful hints from Hollywood bigwigs–award-winning television writer Larry Brody; screenwriter and script reader Henry Jones; screenwriter and author Robin Russin; screenwriter and author Simon Rose; and more

Federico FelliniOCOs script for perhaps the most famous unmade film in Italian cinema, The Journey of G. Mastorna (1965/6), is published here for the first time in full English translation. It offers the reader a remarkable insight into FelliniOCOs creative process and his fascination with human mortality and the great mystery of death. Written in collaboration with Dino Buzzati, Brunello Rondi, and Bernardino Zapponi, the project was ultimately abandoned for a number of reasons, including FelliniOCOs near death, although it continued to inhabit his creative imagination and the landscape of his films for the rest of his career.

Marcus Perryman has written two supporting essays which discuss the reasons why the film was never made, compare it to the two other films in the trilogy La Dolce Vita and 8cents, and analyze the script in the light of ItOCOs a Wonderful Life and Fredric BrownOCOs sci-fi novel What Mad Universe. In doing so he opens up an entire world of connections to FelliniOCOs other films, writers and collaborators. It should be essential reading for students and academics studying FelliniOCOs work."

This study examines "Rome Open City" and its place in Roberto Rossellini's career. The film is based on events that took place in Nazi occupied Italy 1944, one year before the film was made. The author argues that the film has value both as a commerorative piece and as a documentary record.

Red River (1947) is one of Howard Hawks' near-perfect films. A sweeping, fast-moving Western, it's stunningly shot and stars John Wayne and Montgomery Clift in complex roles set off by typically fine ensemble acting. In her study, Suzanne Liandrat-Guigues explores the thematic complexity of "Red River" as well as its historical resonances and its place in film history. She focuses particular attention on the actors' contributions and on "Red River"'s relationship to other Hawks classics.

Paring a novel into a two-hour film is an arduous task for even the best screenwriters and directors. Often the resulting movies are far removed from the novel, sometimes to the point of being unrecognizable. Stanley Kubrick's adaptations have consistently been among the best Hollywood has to offer. Kubrick's film adaptations of three novels - ""Lolita"", ""The Shining"" and ""Full Metal Jacket"" - are analyzed in this work. The primary focus is on the alterations in the characters and narrative structure, with additional attention to style, scope, pace, mood and meaning. Kubrick's adaptations simplify, impose a new visuality, reduce violence, and render the moral slant more conventional.

This is the first book to critically examine the recruitment and working practices of screenwriters. Drawing on interviews with screenwriters and those that employ them, Natalie Wreyford provides a deep and detailed understanding of entrenched gender inequality in the UK film industry and answers the question: what is preventing women from working as screenwriters? She considers how socialised recruitment and gendered taste result in exclusion, and uncovers subtle forms of sexism that cause women's stories and voices to be discounted. Gender Inequality in Screenwriting Work also reveals the hidden labour market of the UK film industry, built on personal connections, homophily and the myth of meritocracy. It is essential reading for students and scholars of gender, creative industries, film and cultural studies, as well as anyone who wants to understand why women remain excluded from many key roles in filmmaking.

This book offers the first comprehensive discussion of the relationship between Modern Irish Literature and the Irish cinema, with twelve chapters written by experts in the field that deal with principal films, authors, and directors. This survey outlines the influence of screen adaptation of important texts from the national literature on the construction of an Irish cinema, many of whose films because of cultural constraints were produced and exhibited outside the country until very recently. Authors discussed include George Bernard Shaw, Oscar Wilde, Liam O'Flaherty, Christy Brown, Edna O'Brien, James Joyce, and Brian Friel. The films analysed in this volume include THE QUIET MAN, THE INFORMER, MAJOR BARBARA, THE GIRL WITH GREEN EYES, MY LEFT FOOT, THE PICTURE OF DORIAN GRAY, THE SNAPPER, and DANCING AT LUGHNASA. The introduction features a detailed discussion of the cultural and political questions raised by the promotion of forms of national identity by Ireland's literary and cinematic establishments.

This volume explores how to engage audiences both beyond and within the academy more deeply in environmental research through arts-based forms. It builds on a multi-pronged case study of scripts for documentary film, audio-visual and stage formats, focusing on how the identity of a place is constructed and contested in the face of environmental concerns around fossil-fuel extraction in a globalized, visual society--and specifically on the rising, international public-relations war over Alberta's stewardship of the tar sands. Each script is followed by discussion of the author's choices of initiating idea, research sources, format, voices, world of the story, structure and visual style, and other notes on the convergence of synthesis, analysis and (re)presentation in the script. Included are lively analysis and commentary on screenwriting and playwriting theory, the creation and dissemination of the scripts, and reflections to ground a proposed framework for writing eco-themed scripts for screen, audio-visual and stage formats.

Labyrinth: One classic film, fifty-five sonnets retells the cult classic film in the form of Shakespearean sonnets. It was inspired by A Corrigan's love of the film and the fact that she wished the novelisation had been more poetic, and physically resembled the book in the film more closely. She started writing the book late last year, intending it to be a celebration of the film's thirtieth anniversary, but it has now also become a tribute to its star, David Bowie. Many of the poems were composed at Bowie shrines; titles of various Bowie songs also found their way into the text. Labyrinth: One classic film, fifty-five sonnets is written in the form of Shakespearean sonnets, to reflect the fact that several of the lines Sarah quotes from her book in the film resemble iambic pentameter, but the language is intended to be more accessible. The book is aimed at Labyrinth aficionados, as well as fans of David Bowie and people who like sonnets and/or traditional rhyming poetry. A Corrigan takes inspiration from the works of Tolkien, Tanith Lee, and Neil Gaiman, and was specifically influenced by Christina Rossetti's 'Goblin Market' and Lewis Carroll's 'The Hunting of the Snark'.

In Screenplay: The Foundations of Screenwriting (1979), Syd Field first popularized the Three-Act Paradigm of Setup, Confrontation and Resolution for conceptualizing and creating the Hollywood screenplay. For Field, the budding screenwriter needs a clear screenplay structure, one which includes two well-crafted plot points, the first at the end of Act I, the second at the end of Act II. By focusing on the importance of the four essentials of beginning and end, and the two pivotal plot points, Field did the Hollywood film industry an enormous service. Nonetheless, although he handles the issue of overall structure expertly, Field falls down when offering the screenwriter advice on how to successfully build each of the three individual Acts. This is because Field did not recognize the importance of another layer of analysis that underpins the existence of plot points. This is the level of the plot genotype.This book will offer you a richer theory of plot structure than the one Field outlines. It will do this not by contradicting anything Field has to say about the Hollywood paradigm, but by complementing it with a deeper level of analysis. Plot genotypes are the compositional schemas of particular stories. They are sets of instructions, written in the language of the plot function, for executing particular plots. This book outlines the plot genotypes for The Frog Prince, The Robber Bridegroom, Puss-in-Boots, and Little Red Riding Hood and then shows how these genotypes provide the underpinnings for the film screenplays of Pretty Woman, Wrong Turn, The Mask, and Psycho. By means of a detailed study of these four Hollywood screenplays, you will be able to offer a much richer description of what is going on at any particular point in a screenplay. In this way, you will become much sharper at understanding how screenplays work. And you will become much better at learning how to write coherent screenplays yourself.