The notion of seriality and serial identity performance runs as a strong undercurrent through much of the fields of gender studies, feminist theory and queer studies, although the explicit analysis of a serial enactment of gender is surprisingly rare. Whereas media studies and cultural studies-based seriality scholarship can often overlook gender as an ongoing process, this book defines gender as a serial and discursively produced, intersectional entanglement of different practices and agencies. It argues that serial storytelling offers such complex negotiations of identity that it is never adequate to consider the 'results' of televisual gender performances as separate from the processes that produce them. As such, gender performances are not restricted to individual television programmes themselves, but are also located in official paratexts, such as making-of documentaries, interviews with writers and actors, as well as in cultural sites like online viewer discussions, recaps and fan fiction. With case studies of series such as Girls, How to Get Away With Murder and The Walking Dead, this book seeks to understand how gender as a practice is generated by television narratives in the overlapping of text, reception and production, and explores which viewer practices these narratives seek to trigger and draw on in the process.

Scriptwriting for Web Series: Writing for the Digital Age offers aspiring writers a comprehensive how-to guide to scriptwriting for web series in the digital age. Containing in-depth advice on writing both short- and long-form webisodes as part of a series, as well as standalone pieces, it goes beyond the screenwriting process to discuss production, promotion and copyright in order to offer a well-rounded guide to creating and distributing a successful web series. Written in a friendly, readable and jargon-free style by an experienced scriptwriting professor and two award-winning web series creators, it offers invaluable professional insights, as well as examples from successful series, sample scripts and interviews with key series creators, writers and industry professionals.

Since we first arrived on the planet, we've been telling each other stories, whether of that morning's great saber-tooth tiger hunt or the latest installment of the Star Wars saga. And throughout our history, despite differences of geography or culture, we've been telling those stories in essentially the same way. Why? Because there is a RIGHT way to tell a story, one built into our very DNA. In his seminal work Poetics, Aristotle identified the patterns and recurring elements that existed in the successful dramas of his time as he explored precisely why we tell stories, what makes a good one, and how to best tell them. In Classical Storytelling and Contemporary Screenwriting, Brian Price examines Aristotle's conclusions in an entertaining and accessible way and then applies those guiding principles to the most modern of storytelling mediums, going from idea to story to structure to outline to final pages and beyond, covering every relevant screenwriting topic along the way. The result is a fresh new approach to the craft of screenwriting-one that's only been around a scant 2,500 years or so-ideal for students and aspiring screenwriters who want a comprehensive step-by-step guide to writing a successful screenplay the way the pros do it.

Since we first arrived on the planet, we've been telling each other stories, whether of that morning's great saber-tooth tiger hunt or the latest installment of the Star Wars saga. And throughout our history, despite differences of geography or culture, we've been telling those stories in essentially the same way. Why? Because there is a RIGHT way to tell a story, one built into our very DNA. In his seminal work Poetics, Aristotle identified the patterns and recurring elements that existed in the successful dramas of his time as he explored precisely why we tell stories, what makes a good one, and how to best tell them. In Classical Storytelling and Contemporary Screenwriting, Brian Price examines Aristotle's conclusions in an entertaining and accessible way and then applies those guiding principles to the most modern of storytelling mediums, going from idea to story to structure to outline to final pages and beyond, covering every relevant screenwriting topic along the way. The result is a fresh new approach to the craft of screenwriting-one that's only been around a scant 2,500 years or so-ideal for students and aspiring screenwriters who want a comprehensive step-by-step guide to writing a successful screenplay the way the pros do it.

A practical guide to writing radio drama and getting it produced, by a leading radio dramatist and a hugely experienced radio drama producer who have both created award-winning dramas for the BBC. For writers, radio drama offers a remarkable degree of creative freedom, a unique relationship with an audience listening at home or on the move, and a wealth of opportunities to earn a living. But writing for radio is also a very particular craft, with its own distinctive conventions, techniques and pitfalls. And you need to know how the industry works to stand the best chance of getting your play commissioned. This book, written from the dual perspective of a writer and a radio drama producer, tells you all you need to know about: What works well on radio, and what doesn't How to hook listeners from the start, and how to keep them listening How to format your script How to research and contact the right producer for your play What to expect after you've received a commission What happens when you're in the recording studio Full of practical advice, tips and invaluable inside information about the industry, it also includes extracts from many outstanding radio dramas and a series of writing exercises to help put ideas into practice. So You Want To Write Radio Drama? is an essential guide for anybody who wants to write a radio play, whether you're a first-time writer or one currently working in a different medium. It will also be of help to those already involved in making radio drama, or who simply want an insight into how it is written and made.

Once you understand the basics of screenwriting, ideas for your next screenplay are everywhere. Whether it comes from a favorite children's book, a summer novel you discover accidentally, a news story that catches your imagination, or a chapter from your own life - advanced screenwriting strategies should now guide you through your first adaptation. In Screen Adaptation: Beyond the Basics, award-winning screenwriter Eric Williams uses examples from award-winning screenplays to explain new storytelling techniques. His real-world examples illustrate a range of advanced approaches - including new ways to identify and craft tension, how to reimagine structure and character, and how to strengthen emotional depth in your characters and in the audience. Screen Adaptation: Beyond the Basics teaches readers new ways to engage with source material in order to make successful adaptation decisions, regardless of the source material. The book offers: Three detailed examples of award-winning adaptations by the author, including the complete short story and final scripts used in the Voices From the Heartland project; Breakout boxes highlighting modern and historical adaptations and providing examples for each concept discussed in the book; More than fifty charts providing easy-to-use visual representations of complex concepts; New screenwriting techniques developed by the author, including the Triangle of Knowledge, the Storyteller's Parallax, and the idea of Super Genres as part of a Screenwriters Taxonomy.

An exciting new strand in The Television Series, the 'Moments in Television' collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each 'Moments' book is organised around a provocative binary theme. Sound / image reassesses the synergy between televisual images, and sounds and music, as a key creative interaction warranting closer attention. Through close scrutiny of visual and sonic elements, the book's chosen programmes are persuasively illuminated in new ways. The book explores an eclectic range of TV fictions, dramatic and comedic. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts. -- .

An exciting new strand in The Television Series, the 'Moments in Television' collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each 'Moments' book is organised around a provocative binary theme. Substance / styleoffers fresh perspectives on television's essential qualities and aesthetic significance. It reassesses the synergy between substance and style, highlighting the potential for meaning to arise through their integration. The book's chosen programmes are persuasively illuminated in new ways. The book explores an eclectic range of TV fictions, dramatic and comedic. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts. -- .

With a foreword by Diane Negra and Jorie Lagerway As television has finally started to create more leading roles for women, the female antiheroine has emerged as a compelling and dynamic character type. Television Antiheroines looks closely at this recent development, exploring the emergence of women characters in roles typically reserved for men, particularly in the male-dominated genre of the crime and prison drama. The essays collected in Television Antiheroines are divided into four sections or types of characters: mafia women, drug dealers and aberrant mothers, women in prison, and villainesses. Looking specifically at shows such as Gomorrah, Mafiosa, The Wire, The Sopranos, Sons of Anarchy, Orange is the New Black, and Antimafia Squad, the contributors explore the role of race and sexuality and focus on how many of the characters transgress traditional ideas about femininity and female identity, such as motherhood. They examine the ways in which bad women are portrayed and how these characters undermine gender expectations and reveal the current challenges by women to social and economic norms. Television Antiheroines will be essential reading for anyone with a serious interest in crime and prison drama and the rising prominence of women in nontraditional roles.

A NEW, REVISED EDITION OF THE ULTIMATE NORA EPHRON COLLECTION, PACKED WITH WIT, WISDOM AND COMFORT, WITH AN INTRODUCTION FROM CANDICE CARTY-WILLIAMS 'The perfect introduction to the iconic writer' STYLIST INCLUDING: * Nora's much-loved essays on everything from friendship to feminism to journalism * Extracts from her bestselling novel Heartburn * Scenes from her hilarious screenplay for When Harry Met Sally * Unparalleled advice about friends, lovers, divorces, desserts and black turtleneck sweaters 'It's got a little bit of everything, from witty essays on feminism, beauty, and ageing to profiles of empowering female figures' ELLE *PRAISE FOR NORA EPHRON* 'So bold and so vulnerable at the same time. I don't know how she did it' PHOEBE WALLER-BRIDGE 'Nora's exacting, precise, didactic, tried-and-tested, sophisticated-woman-wearing-all-black wisdom is a comfort and a relief' DOLLY ALDERTON 'Nora Ephron is the funniest, cleverest, wisest friend you could have' NIGELLA LAWSON 'I am only the one of millions of women who will miss Nora's voice' LENA DUNHAM

An exciting new strand in The Television Series, the 'Moments in Television' collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each 'Moments' book is organised around a provocative binary theme. Complexity / simplicity addresses the idea of complex TV, examining its potential, limitations and impact upon creative and interpretative practices. It also reassesses simplicity as an alternative criterion for evaluation. Complexity and simplicity persuasively illuminate the book's chosen programmes in new ways. The book explores an eclectic range of TV fictions, dramatic and comedic. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts. -- .

Character drives plot. Based on this principle, this book walks aspiring writers through the fascinating world of character-driven screenwriting. When a writer engages their characters, they start a process which naturally leads to the story's structure and everything else that makes for a well-written narrative. Exploring the protagonist's journey and their "unity arc," Myers explains how a family of characters surrounds the protagonist and influences their transformation process. This easy-to-follow guide features activities that will help writers of any level develop their stories from concept to scene-by-scene outline. Based upon a popular workshop Myers has led with over a thousand writers at all levels of experience, this book is a must-have for screenwriting students, both undergraduate and graduate, and those looking at advanced story development.

In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against the main current of present cinematic practice, from the short film Windows in the mid-seventies, to his more popular but nonetheless challenging films such as A Zed and Two Noughts and The Pillow Book in the nineties.

In this collection the ever-controversial Greenaway discusses his philosophies of film, art, aesthetics, literature, and reality, criticizing and even condemning the standard fare of what he calls Hollywood cinema. For him such films tell stories or they translate literature with its linear narrative onto a medium that he feels should be preeminently visual. He finds that, instead of foregrounding the image and the composition of visual elements as in the long history of painting, Hollywood-style directors seem mesmerized by the "and then and then" narrative.

In these provocative interviews Greenaway tells of his ambition to make cinema a medium based more on image than on narrative. He explains his painterly approach in The Cook, the Thief, His Wife, and Her Lover, defends his use of total nudity of both sexes, and declares that traditional literary-based cinema is dead. He believes that the most creative imaginations, the most innovative technologies, and the greatest financial resources are being devoted to television and the Internet and that Hollywood moviemaking is no longer in the vanguard.

Full Length, Comedy / Characters: 3 male, 4 female

Scenery: Interior

Neil Simon's first Broadway comedy smash. Alan Baker, a 30-ish swinging bachelor with time, money and women to spare, welcomes rebellious and eager 21-year brother Buddy into his den of iniquity while their horrified parents can only watch and pray. This farcical 60's romp became a hit movie starring Frank Sinatra.

"A slick, lively, funny comedy."-The New York Times

Screenwriting: Creative Labor and Professional Practice analyzes the histories, practices, identities and subjects which form and shape the daily working lives of screenwriters. Author Bridget Conor considers the ways in which contemporary screenwriters navigate and make sense of the labor markets in which they are immersed. Chapters explore areas including: Screenwriting histories and myths of the profession Screenwriting as creative labor Screenwriters' working lives Screenwriting work and the how-to genre Screenwriting work and inequalities Drawing on historical and critical perspectives of mainstream screenwriting in the USA and UK, as well as valuable interviews with working screenwriters, this book presents a highly original and multi-faceted study of screenwriting as creative labor and professional practice. The Open Access version of this book, available at www.taylorandfrancis.com, has been made available under a Creative Commons Attribution-NonCommercial-No Derivatives 4.0 license.https://www.taylorfrancis.com/books/9780203080771

(Book). The Grand Budapest Hotel recounts the adventures of Gustave H (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), the lobby boy who becomes his most trusted friend. Acting as a kind of father figure, M. Gustave leads the resourceful Zero on a journey that involves the theft and recovery of a priceless Renaissance painting; the battle for an enormous family fortune; a desperate chase on motorcycles, trains, sleds and skis; and the sweetest confection of a love affair all against the backdrop of a suddenly and dramatically changing Continent. Inspired by the writings of Stefan Zweig, The Grand Budapest Hotel recreates a bygone era through its arresting visuals and sparkling dialogue. The charm and vibrant colors of the film gradually darken with a sense of melancholy as the forces of history conspire against our hero and his vanishing way of life. Written and directed by Wes Anderson, whose films include The Royal Tenenbaums, Moonrise Kingdom, and Fantastic Mr. Fox . The film also stars Jude Law, Tilda Swinton, Edward Norton, Jeff Goldblum, Harvey Keitel, Adrian Brody, Saoirse Ronan, Lea Seydoux, Bill Murray and Owen Wilson.

Although children have proliferated in Spain's cinema since its inception, nowhere are they privileged and complicated in quite the same way as in the films of the 1970s and early 1980s, a period of radical political and cultural change for the nation as it emerged from almost four decades of repressive dictatorship under the rule of General Francisco Franco. In Inhabiting the In-Between: Childhood and Cinema in Spain's Long Transition, Sarah Thomas analyses the cinematic child within this complex historical conjuncture of a nation looking back on decades of authoritarian rule and forward to an uncertain future. Examining films from several genres by four key directors of the Transition - Carlos Saura, Antonio Mercero, Victor Erice, and Jaime de Arminan - Thomas explores how the child is represented as both subject and object, and self and other, and consistently cast in a position between categories or binary poles. She demonstrates how the cinematic child that materializes in this period is a fundamentally shifting, oscillating, ambivalent figure that points toward the impossibility of fully comprehending the historical past and the figure of the other, while inviting an ethical engagement with each.

Over 6000 different languages are used in the world today, but the conventions of media speak are far from universal and the complexities of translation are rarely acknowledged by the industry, audiences or scholars. Redressing this neglect, Speaking in Subtitles argues that the specific contingencies of translation are vital to screen media's global storytelling. Looking at a range of examples, from silent era intertitling to contemporary crowdsourced subtitling, and from avant-garde dubbing to the increasing practice of'fansubbing', Tessa Dwyer proposes that screen media itself is fundamentally translational field.

This book seeks to reshape the way that writers think about constructing their story, looking at the subject from the inside out. Often practitioners and theorists examine work through the separate lenses of character and/or structure and then bring them together. Within this book, authors Hughes and Wilkes argue that character is structure and one without the other makes for a dissatisfying narrative. Through detailed case studies on films that span all genres, from mainstream franchises like The Hunger Games (2012-2015) and Shrek (2001-2010) to art house films such as Toto Le Heros (1991) and Eraserhead (1977), the authors reveal the dramatic imperative behind the central choices or dilemmas faced by every protagonist in every classic feature length narrative. They argue there is only one of five choices that any writer must make in inventing that key transition from the protagonist's ordinary world into the adventure that will form the heart of their story. Using the universal language of folk and fairy stories, this book gives writers and students a clear framework through which they can reference and improve their own storytelling. In doing so, it enables both the novice and experienced screenwriter to tell their story in the most authentic and impactful way, while keeping their protagonist at the heart of the narrative.

Only 23-years-old when he directed his extraordinary debut feature Gummo, Harmony Korine has since continued to serve notice that he is the riskiest, most radical young talent in independent US film. This collection of three screenplays displays his defiantly unorthodox approach to film form, as well as the unclassifiable imaginative energy that drives all of his work.

Tales of horror have always been with us, from Biblical times to the Gothic novel to successful modern day authors and screenwriters. Though the genre is often maligned, it is huge in popularity and its resilience is undeniable. Marc Blake and Sara Bailey offer a detailed analysis of the horror genre, including its subgenres, tropes and the specific requirements of the horror screenplay.

Tracing the development of the horror film from its beginnings in German Expressionism, the authors engage in a readable style that will appeal to anyone with a genuine interest in the form and the mechanics of the genre. This book examines the success of Universal Studio's franchises of the '30s to the Serial Killer, the Slasher film, Asian Horror, the Supernatural, Horror Verite and current developments in the field, including 3D and remakes. It also includes step-by-step writing exercises, annotated extracts from horror screenplays and interviews with seasoned writers/directors/ producers discussing budget restrictions, screenplay form and formulas and how screenplays work during shooting.

Loner Travis Bickle takes up driving a taxi in search of an escape from sleeplessness and disgust with the corruption around him. His pent-up rage, fueled by his doomed relationship with political campaign worker Betsy, leads to an inevitable descent into psychosis and violence. An award winner at the 1976 Cannes Festival, TAXI DRIVER was an important film during the seventies.

As entertaining as it is enlightening, Creating Dialogue for TV: Screenwriters Talk Television presents interviews with five Hollywood professionals who talk about all things related to dialogue - from naturalistic style to the building of characters to swearing and dialect. Screenwriters/showrunners David Mandel (Curb Your Enthusiasm, Veep), Jane Espenson (Buffy, Battlestar Galactica, Once Upon a Time), Robert Berens (Supernatural), Sheila Lawrence (Gilmore Girls, Ugly Betty, The Marvelous Mrs Maisel), and Doris Egan (Tru Calling, House, Reign) field a linguist's inquiries about the craft of writing dialogue. This book is for anyone who has ever wondered what creative processes and attitudes lie behind the words they encounter when tuning into their favourite television show. It provides direct insights into Hollywood writers' knowledge and opinions of how language is used in television narratives, and in doing so shows how language awareness, attitudes and the craft of using words are utilised to create popular TV series. The book will appeal to students and teachers in screenwriting, creative writing and linguistics as well as lay readers.