The director of the cult hit pi returns with an equally unsettling piece, this time concerning drug addiction and sexual abuse. Adapted from the novel by Hubert Selby Jr. (author of the controversial Last Exit to Brooklyn), Requiem for a Dream is the story of four individuals who are each, in their own way, writhing in the coils of an addiction, and striving desperately to attain some kind of sanity in their lives. From this unflinching material, Aronofsky has fashioned a dark and fascinating film about betrayal, and the inability to love.

In this revised and updated edition of the StoryCenter's popular guide to digital storytelling, StoryCenter founder Joe Lambert offers budding storytellers the skills and tools they need to craft compelling digital stories. Using a "Seven Steps" approach, Lambert helps storytellers identify the fundamentals of dynamic digital storytelling - from conceiving a story, to seeing, assembling, and sharing it. Readers will also find new explorations of the global applications of digital storytelling in education and other fields, as well as additional information about copyright, ethics, and distribution. The book is filled with resources about past and present projects on the grassroots and institutional level, including new chapters specifically for students and a discussion of the latest tools and projects in mobile device-based media. This accessible guide's meaningful examples and inviting tone makes this an essential for any student learning the steps toward digital storytelling.

Since the 1970s Paul Schrader has been hailed as one of America's most gifted screenwriters. From his work with Martin Scorsese, such as The Last Temptation of Christ and Raging Bull, to the films of his own direction, such as Mishima and Affliction, Schrader has created a dark and affecting body of work that has had a profound effect on cinematic storytelling. The works in this volume represent some of his key moments as a writer, including the script for what is perhaps his crowning achievement, Taxi Driver, one of the most influential films of the last several decades and an American classic.

In this amply illustrated book, Hellman and Rogachevskii tell the fascinating story behind the screen adaptation of one of the most impactful novels of all times. Despite its huge global success, Aleksandr Solzhenitsyn refused all offers to have his One Day in the Life of Ivan Denisovich turned into a movie for many years for artistic reasons. It took the full resolve and commitment of the Finnish director Caspar Wrede to bring this challenging project to fruition, eight years after the novel had been published. This second, expanded edition offers an all-encompassing account of the movie's production, reception and impact. Filled with little-known facts, it also gives unique and valuable insights into Solzhenitsyn's complex relationship with the art of film-making.

In 1965 there doesn't seem to be too much going on in the ranks of the South Bendigo Communist Party. Even the presence of young recruit Martin Porter has done little to inject life into the weekly grind. While Martin's mum frets about his inexplicable abandonment of the church, short hair and the army reserve, George and Eli Tassekis welcome him into their family like a second son. But Martin is an ASIO spy and he's about to get his new friends into serious trouble. Based on a true story from country Victoria, The Spook reveals the world of activity involving the Communist Party and ASIO in Australian society during the post war decades.

Action centres on the lives of men in the Tank Corps in 1916. There was a belief that the machine could shorten the war and bring the appalling slaughter to an end. The drama explores the ways in which this belief binds the men together and, ultimately, fragments their lives.

This volume presents eleven radio scripts written and produced by the poet and writer Louis MacNeice (1907-1963) over the span of his twenty-year career at the BBC, during which he wrote and produced well over a hundred radio scripts on an impressively wide variety of subjects. This volume's selection of scripts, all but one of which is published for the first time, illustrates the various ways that MacNeice re-worked one particular and recurrent source of material for radio broadcast - ancient Greek and Roman history and literature. The volume thus seeks to explore MacNeice's literary relationship with classical antiquity, including engagements with authors such as Homer, Thucydides, Aristophanes, Xenophon, Petronius, Apuleius, and Horace, in a variety of types of programmes from wartime propaganda work, which used ancient Greek history to comment on the international situation, to lighter entertainment programmes drawing on the Roman novel. MacNeice's educational background in classics, combined with his skill as a writer and his ability in exploring radio's potential for creative work, resulted in programmes which brought the ancient world imaginatively alive for a massive, popular audience at home and abroad. Each script is prefaced by an individual introduction, written by the editors and guest contributor Gonda Van Steen, detailing the political and broadcasting contexts, the relationship of the script with classical antiquity, notes on cast and credits, and the reception of each script's radio performance amongst contemporary listeners. The volume opens with a general introduction which seeks to contextualise the scripts in MacNeice's wider life and work for radio, and it includes an appendix of extant MacNeicean scripts and recordings.

It is the summer of 1973, and 12-year-old James Gillespie lives with this family in a Glasgow project, which is becoming increasingly squalid as a garbagemen's strike wears on.
While at play one day, James accidently causes the drowning of his friend Ryan in the local canal--and flees the scene, apparently unseen. "Ratcatcher "follows James as he trys to live with his terrible secret and how it effects his life and relationships. Along the way he strikes up a touching intimacy with an older girl whom the other project boys use for sex, falls in with a street gang, and dreams desperately of leaving the projects and moving to one of the clean, new houses being built a few miles out of town. But there are no fairytale endings, and ultimately, he is as incapable of escaping his circumstances as he is of escaping his guilt over Ryan's death, rendering "Ratcatcher "a finely-wrought, unsentimental, and wholly remarkable coming-of-age tale.

Since his death, Andrei Tarkovsky (1932-86) has become increasingly recognized as one of the true masters of world cinema. In the Soviet Union of his generation, where the collective was of the utmost importance, he dared to create his own provocatively original style of filmmaking. His non-realistic, highly charged images continued to be a source of inspiration—not only for a new generation of filmmakers but also for poets, musicians, and painters—even after he defected to the West, where Nostalgia was shot in Italy in 1983. His last film, The Sacrifice, was filmed in Sweden with Ingmar Bergman's collaborators.

This volume collects the scripts for his great works, including Solaris, Mirror, Stalker, Nostalgia, The Sacrifice, and Ivan's Childhood. These scripts both deepen and expand our understanding of Tarkovsky's films, for they map out the early progressions and personages (some of which were never embodied on the screen) in his work while also helping to clarify the obscure characters, images, and sequences that are so central to this great filmmaker's unique art and craft.

Nominated for ten Oscars—and winning five of them, including those for Best Director and Best Original Screenplay—The Apartment is a mordant comedy about getting ahead in today's corporate world. Jack Lemmon plays the 'schnook' who lends out his Upper West Side apartment for his boss's sexual trysts, only to fall in love with the boss's troubled girlfriend (Shirely MacLaine). A classic film for a variety of reasons, The Apartment boasts a beautifully written script in which the cynical tone and content of the narrative are saved by Wilder and Diamond's tenderness towards their central characters. This edition also offers a specially commissioned intoduction by Mark Cousins.

This is the unabridged original text of Dennis Potter's acclaimed six-part television serial. The narrative counterpoints life in a hospital ward of a writer crippled by a horrific skin disease with the plot of his atmospheric thriller to the point where fantasy and reality seem to exchange places. The result is the most painful and disturbing screen drama of the 1980s.

The Palgrave Handbook of Script Development provides the first comprehensive overview of international script development practices. Across 40 unique chapters, readers are guided through the key challenges, roles and cultures of script development, from the perspectives of creators of original works, those in consultative roles and those giving broader contextual case studies. The authors take us inside the writers' room, alongside the script editor, between development conversations, and outside the mainstream and into the experimental. With authors spanning upwards of 15 countries, and occupying an array of roles - including writer, script editor, producer, script consultant, executive, teacher and scholar, this is a truly international perspective on how script development functions (or otherwise) across media and platforms. Comprising four parts, the handbook guides readers behind the scenes of script development, exploring unique contexts, alternative approaches, specific production cultures and global contexts, drawing on interviews, archives, policy, case study research and the insider track. With its broad approach to a specialised practice, the Palgrave Handbook of Script Development is for anyone who practices, teaches or studies screenwriting and screen production.

Following Phantom of the Opera (1943), in the middle of the Silver age of Universal Studio's monster movies, a new sequel to Frankenstein Meets the Wolfman was considered for a Technicolor production: Wolfman vs Dracula Lon Chaney Jr., who was the only actor to portray Universal's four classic monster roles; Dracula, frankenstein's monster, the mummy and the wolfman. At first Chaney was to play both roles, as his father Lon Chaney Sr. had done in several of his famous silent films. But Larry Talbot in his human phase would look exactly like Count Dracula so the role of Dracula was given to it's originator Bela Lugosi. A script was prepared by Bernard Shubert, who had written the screenplay for Tod Browning's London After Midnight(MGM 1927) remake Mark of the Vampire (MGM 1935). Shubert kept the settings very tight in its scenes, to keep the cost down to balance out for the extra expense of technicolor. But by 1944 Bela Lugosi was in his 60s and would have had to play part of his role as a giant bat much like in the Copolla Bram Stoker's Dracula in the 90s - and that would have been too much for him. And they couldn't have the Wolfman fighting an animated bat much like John Carradine's depiction of the Count or even Lugosi's portrayal in Abbott and Costello Meet Frankenstein. So they decided to make one of their Arabian Nights film on the Technicolor contract and all that remained of Wolfman vs Dracula are some color 8x10s of Chaney in both parts. This volume has a short biography of screenwriter/TV producer Bernard Shubert and comments from Shubert and special effects cinematographer David Stanley Horsley.

What are the foundations of scriptwriting? Why do some scripts gain more prestige than others? How do you write a script and get it noticed? Scriptwriting for Film, Television and New Media answers these questions and more, offering a comprehensive introduction to writing scripts for film, television, the Internet, and interactive multimedia. Author Alan C. Hueth explains not just how to write, but how to think and apply the fundamental principles of screenwriting to multiple platforms and genres. This includes chapters on numerous script formats, including drama and comedy in film and TV, short films, commercials and PSAs, news and sports, interview shows, documentaries, reality shows, and corporate and educational media, including interactive multimedia. This book also addresses legal and ethical issues, how to become a professional scriptwriter, and a section on production language that provides helpful explanations of how camera, locations, visual and audio effects combine on screen to engage and sustain viewer attention, and, consequently, how to improve scriptwriting technique. The book features numerous case studies and detailed examples, including chapter by chapter exercises, plot diagrams, quick-look and learn tables that assist readers to quickly understand genre related script elements, and in-depth script close-ups to examine precisely how writers utilize the principles and elements of drama to create a successful script. It is also supported by a comprehensive companion website with further case studies, assignments, video clips, and examples of films and programs discussed in the book. Scriptwriting for Film, Television, and New Media is ideal for aspiring scriptwriters and anyone wanting to broaden their understanding of how successful scripts are created.

Inspired by Dostoyevsky's short story, The Double tells the story of Simon, a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. He feels powerless to change any of these things. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon's exact physical double and his opposite - confident, charismatic and good with women. To Simon's horror, James slowly starts taking over his life.

For more than twenty years, "Writing Screenplays That Sell" has been hailed as the most complete guide available on the art, craft, and business of writing for movies and television. Now fully revised and updated to reflect the latest trends and scripts, Hollywood story expert and script consultant Michael Hauge walks readers through every step of writing and selling successful screenplays. If you read only one book on the screenwriter's craft, this must be the one.

Jungian Theory for Storytellers is a toolkit for anyone using Jungian archetypes to create stories in fiction, TV, film, video games, documentaries, poetry, and many other media. It contains a detailed classification of the archetypes, with relevant examples, and explains how they work in different types of narratives. Importantly, Bassil-Morozow explores archetypes and their significance in characterization, individuation, plot and story-building. Bassil-Morozow also presents an overview of Jung's thoughts on creativity and other Jungian concepts, including the unconscious, ego, persona and self and the individuation process, and shows how they are linked to conflict. The book provides an explanation of relevant Jungian terms for a non-Jungian audience and introduces the idea of the hero's journey, with examples included throughout. Accessibly written yet academic, both practical and engaging, and written with a non-Jungian audience in mind, Jungian Theory for Storytellers is an ideal source for writers and screenwriters of all backgrounds, including academics and teachers, who want to use Jungian theory in their work or are seeking to understand relevant Jungian ideas.

This two-volume anthology tells the story of Roadside Theater's first 45 years and includes nine award-winning original play scripts; ten essays by authors from different disciplines and generations, which explore the plays' social, economic, and political circumstances; and a critical recounting of the theater's history from 1975 through 2020. The plays in Volume 1 offer a people's history of the Appalachian coalfields, from the European incursion through the American War in Vietnam. The plays in Volume 2 come from Roadside's intercultural and issue-specific theater work, including long-term collaborations with the African American Junebug Productions in New Orleans and the Puerto Rican Pregones Theater in the South Bronx, as well as with residents on both sides of the walls of recently-built prisons. Roadside has spent 45 years searching for what art in a democracy might look like. The anthology raises questions such as, What are common principles and common barriers to achieving democracy across disciplines, and how can the disciplines unite in common democratic cause?

'Joyous, wise, reassuring and laugh-out-loud funny. I love these two women so much.' Elizabeth Day 'The two funniest women on planet earth right now.' Dolly Alderton 'I want to be Fi and Jane when I grow up.' Clare Balding 'A book like no other. Honest and very, very funny. Some bits made me want to cheer.' Sara Cox 'If you loved the late, great Victoria Wood, then you'll love Fi and Jane too.' Red magazine Award-winning broadcasters Fi Glover and Jane Garvey don't claim to have all the answers (what was the question?), but in these hilarious and perceptive essays they take modern life by its elasticated waist and give it a brisk going over with a stiff brush. They riff together on the chuff of life, from pet deaths to broadcasting hierarchies, via the importance of hair dye, the perils and pleasures of judging other women, and the perplexing overconfidence of chino-wearing middle-aged white men named Roger. Did I Say That Out Loud? covers essential life skills (never buy an acrylic jumper, always decline the offer of a limoncello), ponders the prudence of orgasm merchandise and suggests the disconcerting possibility that Christmas is a hereditary disease, passed down the maternal line. At a time of constant uncertainty, what we all need is the wisdom of two women who haven't got a clue what's going on either.

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.

J. M. Synge was one of the key dramatists in the flourishing world of Irish literature at the turn of the century. This volume offers all of Synge's published plays, which range from racy comedy to stark tragedy, all sharing a memorable lyricism. The introduction to this new, definitive edition of Synge's plays sets them--and his other work--in the context of the Irish literary movement, with special attention to his role as one of the founders of the Abbey Theatre and his work alongside W. B. Yeats and Lady Gregory. Under the General Editorship of Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with a scholarly introduction and detailed annotation. Riders to the Sea; The Shadow of the Glen; The Tinker's Wedding; The Well of the Saints; The Playboy of the Western World; Deirdre of the Sorrows;This book is intended for students of Irish Literature (especially drama).