An Annotated Bibliography on Screenwriting Manuals between 2000-2020 that aid in Character Development

<p>The New Zealand Film Commission (NZFC) is the government organisation that finances films. The NZFC agrees with many screenwriting authors that the most common problems with scripts relate to character development (Batty, 2011, p. 45; Frayne, 2019; Nelmes, 2010, p. 202; NZFC Scriptwriting, 2020). Therefore, a screenwriter needs resources to overcome character development problems in their scripts. However, there are too many screenwriting manuals in publication. Also, an inexperienced amateur screenwriter may not know which manuals would solve their particular character development problems. In this annotated bibliography, the screenwriter is the author responsible for developing the script. Furthermore, the script serves as a guideline to producing media content: feature film, short film, videogames, radio-play, television (Field, 2005, p. 19; Gallo, 2012a, Chapter 2; Nannicelli, 2013, pp. 11–18). On account of this, this annotated bibliography will focus mainly on screenwriting manuals dealing with feature film scripts. Feature film scripts are 90 minutes or longer in duration (Field, 2005, p. 22). Additionally, since a script encompasses story and character elements, this annotated bibliography will focus only on character development.</p>

An Annotated Bibliography on Screenwriting Manuals between 2000-2020 that aid in Character Development

<p>The New Zealand Film Commission (NZFC) is the government organisation that finances films. The NZFC agrees with many screenwriting authors that the most common problems with scripts relate to character development (Batty, 2011, p. 45; Frayne, 2019; Nelmes, 2010, p. 202; NZFC Scriptwriting, 2020). Therefore, a screenwriter needs resources to overcome character development problems in their scripts. However, there are too many screenwriting manuals in publication. Also, an inexperienced amateur screenwriter may not know which manuals would solve their particular character development problems. In this annotated bibliography, the screenwriter is the author responsible for developing the script. Furthermore, the script serves as a guideline to producing media content: feature film, short film, videogames, radio-play, television (Field, 2005, p. 19; Gallo, 2012a, Chapter 2; Nannicelli, 2013, pp. 11–18). On account of this, this annotated bibliography will focus mainly on screenwriting manuals dealing with feature film scripts. Feature film scripts are 90 minutes or longer in duration (Field, 2005, p. 22). Additionally, since a script encompasses story and character elements, this annotated bibliography will focus only on character development.</p>

Seeing Double: The Process of Script Adaptation between Theatre and Film

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre. The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film. The thesis concludes with discussion of the decisions I made when adapting my own scripts. This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium. This thesis also proposes a set of adaptation principles for script adaptors.</p>

Seeing Double: The Process of Script Adaptation between Theatre and Film

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre. The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film. The thesis concludes with discussion of the decisions I made when adapting my own scripts. This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium. This thesis also proposes a set of adaptation principles for script adaptors.</p>

Legal Protection on the Moral Rights and Economic Rights of the Author of Film Script Writing Pursuant to Law No. 28 of 2014 Concerning Copyright (Analysis of Copyright Infringement Case by a Production House of the “ Benyamin Biang Kerok” Film)

Moral Rights and Economic Rights are Exclusive Rights that cannot be separated in relation to Copyrights. Copyright protects all forms of work, one of which is Film Script Writing as referred to in Article 40 paragraph (1) of Law Number 28 of 2014 concerning Copyright (UUHC). One of the forms of infringement on the copyrighted work of the film script is the reuse of the film script without the permission of the creator, resulting in the loss of the moral rights and economic rights of the creator. The problems in this study are: how to use the principles of Moral Rights and Economic Rights of the Author in claiming protection against Copyright infringement on Film Script Writing, how legal remedies can be taken in the form of legal protection for the Author of Film Script Writing used without permission, and how analysis of the Judge's decision on the violation of Moral Rights for the Creator in the dispute of the film "Benyamin Biang Kerok" based on the decision of the Panel of Judges Number 09/Pdt.Sus-HKI/Cipta/2018/PN Niaga Jkt. Pst. This research is descriptive analytical with a normative juridical approach. Qualitative analysis methods are used to process and analyze research data and then draw conclusions using deductive methods through a normative framework. The results of the research show: the use of the Principles of Moral Rights and Economic Rights of the Creator as a claim for infringement of Copyright is listed in Article 4, Article 5. This right will continue to exist and is eternally attached to the Creator and will continue to apply indefinitely. Legal efforts as a form of legal protection for Film Scripts that are used without permission are to follow the provisions in Article 95 to Article 109 of the UUHC, namely by preventing violations from occurring and through alternative dispute resolution through arbitration or through the Commercial Court. The Plaintiff's lawsuit was declared defeated by the Panel of Judges, due to lack of parties. But the production of the film "Benyamin Biang Kerok" is not determined as a violation of the exclusive rights of the Creator. This decision has not provided justice and provided legal protection for the Plaintiff as the author of the original manuscript and it is feared that the same violation will continue to occur in the future. Suggestions that can be given include: in providing explanations and strengthening the importance of the Creator's Exclusive Rights, it is necessary to have awareness, socialization and public education so as not to use other people's creations carelessly. Legal efforts to prevent infringement of film script writing is to conduct socialization in the film industry and other related creative industries. Against a decision that has not provided legal protection for the Plaintiff, the Panel of Judges must also determine that the defendant has violated the exclusive rights of the Plaintiff's written film script and stipulates compensation for the violation of exclusive rights committed. Keywords: Legal Protection, Moral Rights, Economic Rights, The Author, Copyrights,Film Script Writing.

10. The letterless canon

“The letterless canon” argues that Jewish literature from the mid-twentieth century onward is not restricted to fiction, poetry, and theater. The book as a tool for the dissemination of knowledge has undergone a metamorphosis. Along the way, the border between high-brow and popular culture has been erased. Comic strips like Superman and graphic novels can be viewed as literary artifacts. Indeed we should consider the work of Will Eisner (A Contract with God), Art Spiegelman (Maus), and Alison Bechdel (Fun House), each of whom offers different contributions. There is also the matter of stand-up comedy, film scripts, and television shows which examine, from a Jewish perspective, gender, racial, and class issues.

Introduction

“Introduction” explores the appellation “People of the Book” as it pertains to the Jews, arguing that, theologically as well as culturally, Jews depend on books to exist. The work of Argentine man of letters Jorge Luis Borges is invoked to introduce the concept of aterritoriality. Modern Jewish literature does not have a specific address and is written in multiple languages. There is a connection between Hasidism, Franz Kafka, Hannah Arendt, Isaac Bashevis Singer, Israeli literature, and the work of Jewish writers in other diasporas. Jewish literature should also include graphic novels, film scripts, television shows, and other textual manifestations.

Measuring the accuracy of LSTM and BiLSTM models in the application of artificial intelligence by applying chatbot programme

Python programme contains a question and answer system that derived from data sets that have used and implemented the chatbot in this modern era. where the data collected is in the form of corpuses containing extensive metadata-rich fictional conversations derived from extracted film scripts, commonly called cornell movie dialogue corpus. The various models have been used chatbots in python programmes, and LSTM and BiLSTM models were specifically used in this study. Where the form of accuracy will be reported as a result of the implementation of LSTM and BiLSTM models in the chatbot programme. The programme performance will be influenced by the data from the model selection, because the level of accuracy is determined by the target programme being taken. So this is the main factor that determines which model to choose. Based on considerations required for choosing the programme model, in the end the LSTM and the BiLSTM models are chosen and will be applied to the programme. Based on the LSTM and BiLSTM chatbot programmes that have been tested, it can be concluded that the best parameters come from a pair of BiLSTM chatbots using the BiLTSM model with an average accuracy value of 0.995217.

7. Stylistic Considerations on Scene No. 8 from the Musical Performance PreȚioasele Ridicole [The Affected Young Ladies] by Vasile Spătărelu

Molière is one of the playwrights who not only marked and defined the seventeenth century in France, but, creator of the modern comedy and discoverer of the authentic comic, contributed fully to educating the public in his present and for the future. His comedies have stood the test of time, as they resonated with the audience, which found itself in them. In the twentieth century, his plays entered the artistic territories adjacent to the theater trough other creators, who turned them into film scripts and librettos for musical theater. The subject of our research is a fragment pertaining to the farcePrețioasele ridicole [The Affected Young Ladies] turned into a musical show under the signature of Vasile Spătărelu. An important name in Romanian music, creator with great melodic imagination, harmonic refinement and perfect literary taste, the composer from Iași made a possible compositional model for the genre, which is part of the Romanian musical show’s route opened by Paul Constantinescu and Pascal Bentoiu. His work is distinguished by the stylistic area to which it adheres, by rhythm and vivacity, by the original combination between the spoken and the sung text, by the ingenious architecture of the scenes, by the adequacy of the writing technique to the desired effect and expression. Fully requesting all the resources of the interpreters, we consider that the analysis of the important moments is very useful to them. If pages of theatrical exegesis were dedicated to the characters Magdelon and Cathos, for Mascaril we did not identify something similar, much less a stylistic-interpretive analysis from a musical perspective. In order to achieve a complete characterization of the character, useful to potential student performers, we will comment on the first segments of the Scene no.8 in which Mascaril’s “identity” is established, as he presents himself in front of the two “precious ones”. (the entrance and the monologue).