Analyzes director Richard Lester's and scriptwriter Charles Wood's efforts in adapting "How I Won the War" and "Dingo" for film. (RB)

Discusses four basic categories of restrictions within which the video script writer works: purpose, time, budget, and resources. Discusses how these variables work together to force creation of a document that can be produced. (SR)

In spite of the importance of the one-act play as an art form and as a tool for teaching playwriting, authors of playwriting texts have devoted little space to the study of the form. Because of this neglect, there is no definition of the form that is simple and specific enough to undergrid efforts to teach or write it. In the absence of a solid…

Instructs writing students on how to verbally present their ideas. Points out that success in screenwriting depends not only on how well scripts are written but also how well screenwriters sell themselves and their scripts. Adds comments for instructors who want to teach pitching as part of a scriptwriting course. (PD)

Texts of nonscripted theatrical performances, unauthoritative and highly contingent translations from theater language into verbal language, present problems of interpretation and translation. (DD)

Describes "neutral scenes," a dialog exchange for which actors must supply the meaning. Contends the exercise provides young actors the opportunity to use all the basic tools they will need when they progress to more conventional scene work, such as finding conflict, using given circumstances, playing relationships. Advises analyzing the…

Examines similarities and differences between writing short, live-action narrative films and writing feature films. Examines market influence, budget, structure, and story factors. Describes useful procedures for inclusion in a scriptwriting class. (KEH)

Offers practical advice for directors and actors regarding script analysis. Contains questions which the director can use to create a thorough analysis of the script and questions to challenge the actors. Asserts that answering these questions helps actors build a detailed character analysis providing directors with hints about how gesture and…

Designed to guide students through the process of writing a film script, this book is an analysis of eight classic screenplays and one novel written in cinematic style, which may serve as models for screenwriting. Each chapter in the book, except the last, is devoted to one script emphasizing a certain aspect of screenwriting. The focus is on how…

Suggests a number of helpful resources, including textbooks, published and unpublished screenplays, contemporary critical writing, screenplay competitions, contact with industry professionals, and software programs for the screenwriter. (PD)

Outlines procedures for producing an effective video program focusing on the need for a well-written, well-planned script. Discusses, for example, content, audience, the visual dimension, length, sound effects, movement, and writing style. (DC)

Reviews the selection of screenwriting texts as well as other material available to the screenwriter teacher and screenwriter. Focuses on writing materials for film and prime time television only. (KEH)

Continues a discussion of script analysis for actors. Focuses on specific scenes and how an eventual scene-by-scene analysis will help students determine a "throughline" of a play's action. Uses a scene from "Romeo and Juliet" to illustrate scene analysis. Gives 13 script questions for students to answer. Presents six tips for…

Describes a production-oriented course designed to give students experience in writing for film and knowledge of screenwriting techniques and film planning activities. (PD)