This article discusses the integration of three concepts central to the enterprise of computer-supported collaborative learning: namely, collaboration scripts, self-regulation, and group awareness. It does so through consideration of five reports in this Special Issue that address the integration challenge. Various themes are extracted and…

In a recent paper, Pierre Tchounikine has suggested to advance the Script Theory of Guidance (SToG) by addressing the question how learners appropriate collaboration scripts presented to them in learning environments. Tchounikine's main criticism addresses SToG's "internal script configuration principle." This principle states that in…

An independent television screenwriter gives practical suggestions on writing and becoming a professional screenwriter. (PD)

Discusses the casting of small roles in television's dramatic series in terms of social stereotyping. Information is based on interviews with writers, producers, directors, casting directors, and talent agents. (JMF)

Examines the functions necessary to take a technical writer's project from script to screen. Discusses the roles of the producer, writer, director, production crew, and videotape editor in the context of a production of a videotape on managing colic in infants. (RS)

Examines the classical paradigm in which both temporal and spatial cohesion constitute a popular and desirable characteristic in presentational story-telling. Argues that fragmentation's maneuvers are as effective as a configurating tool and as cohesion because they advance the ideological, psychoanalytic, aesthetic, essentialist, and story…

Reaffirms the position of directors (Peter Brook, Tyrone Guthrie, Peter Hall, and others) concerning the "balance of power" between director and playwright in transforming a playscript into a theatrical performance. (PD)

Addresses the task of teaching plays, emphasizing both the written script and the live performance. (AEA)

An adaptor of children's books for television explains the difficulties of translating such works into television fare. (FL)

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

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)

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)

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

Argues that schoolwork with the plays of Shakespeare should be rooted in the twin concepts of performance and audience, for which the teacher needs to understand the scripts in terms of Elizabethan theatrical presentation and response. (FL)

Horton Foote was among the television writers who helped make NBC's "Television Playhouse" the most popular live dramatic program on the air during the "Golden Age" of television drama, the period between 1952 and 1957. Foote felt a strong affinity for the land and people of his youth, and modeled the imaginary towns of…