Suggests American screenwriters experiment with the lighting, colors, perspectives, angles, and positioning of images in works of art to generate narrative. Argues that American screenwriters, unlike European counterparts, unnecessarily adhere to the concept that characterization is essential to generate narrative. (KEH)

Explains structure and its relevance for both the practice and teaching of screenwriting. (PD)

Examines six common problems that can interfere with the effectiveness of multimedia information delivery when combining narrated words and still images, including pictures not translating well to the screen; more information than the screen can display; distracting elements; contradicting messages; not enough pictures; and script difficulties.…

The staged performance of oral history narratives scripted by interpreters/ethnographers has significant potential for instigating social change. Recent articles by Dwight Conquergood and Kristin Langellier provide the basis for merging ethnography, oral history and social action projects. Narratives from a 1984 farm crisis project illustrate this…

Proposes a framework for writing and evaluating scripts for narrative educational television that is aimed at producers and screenwriters and addresses essential elements of effective educational program design. Motivational factors are discussed, the target audience is considered, educational objectives are described, and examples from the Open…