ABSTRACT

Bringing together the expertise of world-leading screenwriters and scholars, this book offers a comprehensive overview of how screen narratives work. Exploring a variety of mediums including feature films, television, animation, and video games, the volume provides a contextual overview of the form and applies this to the practice of screenwriting.

Featuring over 20 contributions, the volume surveys the art of screen narrative, and allows students and screenwriters to draw on crucial insights to further improve their screenwriting craft. Editors Paul Taberham and Catalina Iricinschi have curated a volume that spans a range of disciplines including screenwriting, film theory, philosophy and psychology with experience and expertise in storytelling, modern blockbusters, puzzle films and art cinema. Screenwriters interviewed include: Josh Weinstein (The Simpsons, Gravity Falls), David Greenberg (Stomping Ground, Used to Love Her), Evan Skolnick and Ioana Uricaru.

Ideal for students of Screenwriting and Screen Narrative as well as aspiring screenwriters wanting to provide theoretical context to their craft.

chapter |9 pages

Introduction

chapter 1|17 pages

Dimensions of Narrative

part I|66 pages

Convention, Deviation, Evolution

chapter 3|18 pages

American Independent Cinema

chapter 5|22 pages

Complex Film Narratives

Diegetic Fictionalization in Christopher Nolan's Fantastical Puzzle Film Cycle

part II|56 pages

Art Cinema

chapter 946|23 pages

Realism, Time, and Ambiguity

Narration in Art-Cinema

chapter 9|12 pages

Defining a Lynchian Narrative

part III|88 pages

Alternative Media

chapter 15010|24 pages

Television Narrative

Forms, Strategies, and Histories

chapter 11|19 pages

The Way Toons Tell it

Animation's Narrative Strategies

chapter 13|21 pages

Video Game Narrative

Concepts and Practices for Structuring and Infusing Story in Games

part IV|59 pages

New Perspectives

chapter 23816|17 pages

Two Philosophies of the Screenplay

chapter 18|21 pages

Narrative Events

Segmenting, Parsing, and Story Comprehension