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Table of contents
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Chapter 1 - Beyond the Rules
Pages 1-15 - Book chapterNo access
Chapter 2 - Structure
Pages 16-28 - Book chapterNo access
Chapter 3 - Critique of Restorative Three-Act Form
Pages 29-37 - Book chapterNo access
Chapter 4 - Counter-Structure
Pages 38-47 - Book chapterNo access
Chapter 5 - More Thoughts on Three Acts: Fifteen Years Later
Pages 48-57 - Book chapterNo access
Chapter 6 - Narrative and Anti-Narrative: The Case of the Two Stevens: The Work of Steven Spielberg and Steven Soderbergh
Pages 58-75 - Book chapterNo access
Chapter 7 - Working with Genre I
Pages 76-96 - Book chapterNo access
Chapter 8 - Working With Genre II: The Melodrama and the Thriller
Pages 97-119 - Book chapterNo access
Chapter 9 - Working Against Genre
Pages 120-141 - Book chapterNo access
Chapter 10 - Genres of Voice
Pages 142-153 - Book chapterNo access
Chapter 11 - The Non-Linear Film
Pages 154-163 - Book chapterNo access
Chapter 12 - Refraining the Active/Passive Character Distinction
Pages 164-176 - Book chapterNo access
Chapter 13 - Stretching the Limits of Character Identification
Pages 177-189 - Book chapterNo access
Chapter 14 - Main and Secondary Characters
Pages 190-199 - Book chapterNo access
Chapter 15 - Subtext, Action, and Character
Pages 200-212 - Book chapterNo access
Chapter 16 - The Primacy of Character Over Action: The Non-American Screenplay
Pages 213-226 - Book chapterNo access
Chapter 17 - The Subtleties and Implications of Screenplay Form
Pages 227-246 - Book chapterNo access
Chapter 18 - Agency and the Other
Pages 247-267 - Book chapterNo access
Chapter 19 - Character, History, and Politics
Pages 268-288 - Book chapterNo access
Chapter 20 - Tone: The Inescapability of Irony
Pages 289-310 - Book chapterNo access
Chapter 21 - Dramatic Voice/Narrative Voice
Pages 311-318 - Book chapterNo access
Chapter 22 - Digital Features
Pages 319-334 - Book chapterNo access
Chapter 23 - Writing the Narrative Voice
Pages 335-343 - Book chapterNo access
Chapter 24 - Rewriting
Pages 344-351 - Book chapterNo access
Chapter 25 - Adaptations from Contemporary Literature
Pages 352-364 - Book chapterNo access
Chapter 26 - Personal Scriptwriting: The Edge
Pages 365-380 - Book chapterNo access
Chapter 27 - Personal Scriptwriting: Beyond the Edge
Pages 381-390 - Book chapterNo access
Index
Pages 391-409
About the book
Publisher's Note: Transferred to Taylor & Francis as of 2012
Description
Alternative Scriptwriting 4E is an insightful and inspiring book on screenwriting concerned with challenging you to take creative risks with genre, tone, character, and structure. Concerned with exploring alternative approaches beyond the traditional three-act structure, Alternative Scriptwriting first defines conventional approach, suggests alternatives, then provides case studies. These contemporary examples and case studies demonstrate what works, what doesn't, and why.
Because the film industry as well as the public demand greater and greater creativity, one must go beyond the traditional three-act restorative and predictable plot to test your limits and break new creative ground. Rather than teaching writing in a tired formulaic manner, this book elevates the subject and provides inspiration to reach new creative heights.
Alternative Scriptwriting 4E is an insightful and inspiring book on screenwriting concerned with challenging you to take creative risks with genre, tone, character, and structure. Concerned with exploring alternative approaches beyond the traditional three-act structure, Alternative Scriptwriting first defines conventional approach, suggests alternatives, then provides case studies. These contemporary examples and case studies demonstrate what works, what doesn't, and why.
Because the film industry as well as the public demand greater and greater creativity, one must go beyond the traditional three-act restorative and predictable plot to test your limits and break new creative ground. Rather than teaching writing in a tired formulaic manner, this book elevates the subject and provides inspiration to reach new creative heights.
Key Features
Alternative Scriptwriting 4E covers:
* The melodrama and the thriller
* Adaptations from contemporary literature
* Writing non-fictional narratives for the feature documentary
* An in-depth exploration of point-of-view and perspective as expressive of the film writer's voice
* Voice-oriented genres--docudrama, the fable and experimental narrative
* Non-linear storytelling-the narrative strategies that are necessary to make an open-architecture story work
* Considerations for writing for DV that speak to the flexibility and improvisation this medium allows
Alternative Scriptwriting 4E covers:
* The melodrama and the thriller
* Adaptations from contemporary literature
* Writing non-fictional narratives for the feature documentary
* An in-depth exploration of point-of-view and perspective as expressive of the film writer's voice
* Voice-oriented genres--docudrama, the fable and experimental narrative
* Non-linear storytelling-the narrative strategies that are necessary to make an open-architecture story work
* Considerations for writing for DV that speak to the flexibility and improvisation this medium allows
Details
ISBN
978-0-240-80849-9
Language
English
Published
2007
Copyright
Copyright © 2007 Elsevier Inc. All rights reserved
Imprint
Focal Press