The Bloomsbury Handbook of Global Screenplay Theory: (Bloomsbury Handbooks)

The Bloomsbury Handbook of Global Screenplay Theory offers a comprehensive introduction and overview of screenplay theory as applied in the analysis of numerous screenplays from an international, multi-author perspective, including both leading and emerging scholars in the field. Each section includes 3-4 case studies of theory applied in the analysis of a landmark screenplay. The sections are divided thematically, ranging from the screenplay as narrative form to sound and music in the screenplay. With both theorists and practitioners contributing to this volume, the focus is on the actual screenplay as opposed to analysis of the final film. Examining films like The Lion King and Slumdog Millionaire, the essays contribute to a new era in screenplay theory - providing valuable insights not only into the particular screenplays under analysis but also into the range of ways in which such analysis can be approached, representing a wide range of theoretical perspectives.

Table of Contents:
Introduction Andrew Kenneth Gay, Southern Oregon University, US and Ann Igelstrom, Independent Researcher, UK Part I: FADE IN: Theorizing Screenplay Introduction Andrew Kenneth Gay, Southern Oregon University, US and Ann Igelstrom, Independent Researcher, UK Section I. I: The Screenplay as Object 1. An Ontology of the Screenplay as a Complex System Paolo Russo, Oxford Brookes University, UK 2. Screenwriting in the Past Tense? Sergei Eisenstein's Theory of Literary Script, The General Line (1929), and the Use of Tenses in Screenplays Alexandra Ksenofontova, Germany 3. Alan Sharp's Screenplay-Novel Hybrid Picture Yourself, and the Screenplay as Aesthetic Object River Seager, University of Dundee, UK 4. Dance with Shadows: Screenwriting and the Diegetic Space in Brazilian Film History Rafael Lea, Pontifical Catholic University, Brazil Section I. II: The Screenplay as Process 5. Characterization, Dialogue, and Performance in Lawrence Kasdan's Screenplay for Raiders of the Lost Ark Brett Davies, Meiji University, Japan 6. Everything I Don't Remember: Adapting Characters and Their Migratory Experiences Joakim Hermansson, Dalarna University, Sweden 7. Maryam's Windows and Marziyeh's Screens: Layers of Processes, Poetics, and Authorship in 3 Faces, by Jafar Panahi Márcio Andrade, Independent Scholar, Brazil 8. A Taxonomy for Writing Biopics based on Scant Evidence: The Return of Martin Guerre and Victoria & Abdul Indranil Chakravarty, LV Prasad Academy of Film & TV, India Section I. III: The Screenplay as Character and Meaning 9. "Such a foreign presence in Herfordshire": Screenwriting Black Female Nobility into British Heritage Cinema Claudia Sternberg, University of Leeds, Uk 10. A Watchful Eye: the Dramatic Utility and Narrative Application of the Child's Gaze in En du elsker/Someone You Love (2014) Cath Moore, University of Melbourne (Australia) 11. Exploring Characterization and Theme in the Screenwriting Process: The Case of Gladiator Carmen Sofia Brenes, Universidad Gabriela Mistral, Chile and Universidad Internacional de la Rioja, Spain 12. Why Women Keep A Star (being) Born: How an 80 Year Franchise is Alive and Well Due to the Characterization and Dialogue of Female Screenwriters and the Performance of Female Superstars Rosanne Welch, Stephens College, US 13. Moonlight and Mosquita y Mari: Centering the Black and Brown LGBTQ Coming of Age Narrative in Cinema Elisha Miranda, San Jose State University, US and Desha Dauchan, University of California, Irvine, US Part II: INT./EXT. The Screenplay as Narrative Text Introduction Andrew Kenneth Gay, Southern Oregon University, US and Ann Igelstrom, Independent Researcher, UK Section II.I: Narrative Structure in the Screenplay 14. Imposing New Hollywood Structure on the Remake of 3:10 to Yuma Mads Larsen, University of California, Los Angeles, US 15. Narrative Structure in Mari Okada's Maquia: When the Promised Flower Blooms, Japan (2018) Max Gee, Bournemouth University, UK 16. Narrative Structure in the Screenplay of The Naked Island (1960) Lauri Kitsnik, Hiroshima University, Japan 17. Narrative Structure in the Iranian Screenplay: Analysing Story Shape in Asghar Farhadi's The Salesman Chris Neilan, Manchester Metropolitan University, UK Section II.II: Narration and Focalization in the Screenplay 18. Writing Perspective and Perception into the Screenplay: The Case of I Lost My Body (2019) Carina Böhm, Central Queensland University, Australia and Craig Batty, University of South Australia, Australia 19. "THE CAMERA IS JEAN-DOMINIQUE BAUBY": Focalizing Locked-In Syndrome in The Diving Bell and the Butterfly Andrew Kenneth Gay, Southern Oregon University, US 20. The Hole at the Centre of the Donut: A Question of Character Perspective and Focalization in Knives Out Ann Igelstrom, Independent Researcher, UK 21. Writing the Viewer: Narration and Perspective in a Cinematic Virtual Reality Screenplay Kath Dooley, Curtin University, Australia Section II.III: Narrative Time in the Screenplay 22. Time is Relative: a Modern and Postmodern Approach to Time in Kubrick's Shining Kerstin Stutterheim, Academy of Media Arts Cologne, Germany 23. Playing with Time and Voice-Over in Eternal Sunshine of the Spotless Mind Ann Igelstrom, Independent Researcher, UK 24. Time, Narrative and Boyhood Carolina Amaral and Taiyo Omura, Independent Scholars, Brazil 25. The Strange Case of Angelica: Time and Rhythm in Manoel de Oliveira's Screenplay Rita Benis, University of Lisbon, Portugal Part III: CUT TO: The Screenplay as Cinematic Language Introduction Andrew Kenneth Gay, Southern Oregon University, US and Ann Igelstrom, Independent Researcher, UK Section III.I: Mise-en Scene and Cinematic Space in the Screenplay 26. Visual Dramaturgy: From Miami Vice to Game of Thrones Kerstin Stutterheim, Academy of Media Arts Cologne, Germany 27. The Dramatic Space in Beto Brant's Films: Confining and Expanding the Characters Rubens Rewald, University of São Paulo, Brazil 28. Theme and the Humble Watermelon: The Battle for Identity in Sweet Country Glenda Hambly, Monash University, Australia Section III.II: Cinematography and Editing in the Screenplay 29. The Woman is Framed: Representing the Gaze in the Screenplay, One in a Million Girl Louise Sawtell, University of South Australia, Australia 30. An Analysis of the Cinematographic and Editing Elements in the Screenplay for Federico Fellini's Le notti di Cabiria/Nights of Cabiria Claudia Romanelli, University of Alabama, US 31. The Cut in Slumdog Millionaire Greg Loftin, Ravensbourne University London, UK 32. Whatever Feels Right: Options for the Cut in Lynn Shelton's Your Sister's Sister Scriptment Andrew Kenneth Gay, Southern Oregon University, US Section III.III: Sound and Music in the Screenplay 33. Sound Design and Music Proposals in Lucrecia Martel's Swamp Screenplay Iana Cossoy Paro, EICTV International Film School, Cuba 34. Screenwriting in Waltz Time: Role and Function of Music in the Walter Reisch's Screenplay for Two Hearts in Waltz Time (AT 1930) Claus Tieber, University of Vienna, Austria 35. "What a Wonderful Phrase": Sequence, Selection and Scenography in the Animated Musical Screenplay, The Lion King (1994) Paul Wells, Loughborough University, UK Bibliography Index

About the Author :
Andrew Gay is an Associate Professor of Digital Cinema at Southern Oregon University, USA. He has written pieces for the Journal of Screenwriting, Women Screenwriters: An International Guide, Toy Story: How Pixar Reinvented the Animated Feature, and in the forthcoming Handbook of Script Development, and the Open Educational Resource (OER) Screenplayology.com. Ann Igelstrom is an independent researcher based in Edinburgh, UK. She has written pieces for the Journal of Screenwriting and Screenwriters and Screenwriting: Putting Practice into Context. She serves as the Early Career Representative on the Screenwriting Research Network’s council and is in charge of the Network’s Facebook and Twitter accounts.