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Script Development
This book offers the first international look at how script development is theorised and practiced. Drawing on interviews, case studies, discourse analysis, creative practices and industry experiences, it brings together scholars and practitioners from around the world to offer critical insights into this core, but often hidden, aspect of screenwriting and screen production. Chapters speculate and reflect upon how creative, commercial and social practices – in which ideas, emotions, people and personalities combine, cohere and clash – are shaped by the practicalities, policies and rapid movements of the screen industry. Comprising two parts, the book first looks ‘into’ script development from a theoretical perspective, and second looks ‘out from’ the practice to form practitioner-led perspectives of script development. With a rising interest in screenwriting and production studies, and an increased appetite for practice-based research, the book offers a timely mapping of the terrain of script development, providing rich foundations for both study and practice.
The Palgrave Handbook of Script Development
The Palgrave Handbook of Script Development provides the first comprehensive overview of international script development practices. Across 40 unique chapters, readers are guided through the key challenges, roles and cultures of script development, from the perspectives of creators of original works, those in consultative roles and those giving broader contextual case studies. The authors take us inside the writers’ room, alongside the script editor, between development conversations, and outside the mainstream and into the experimental. With authors spanning upwards of 15 countries, and occupying an array of roles – including writer, script editor, producer, script consultant, executive...
Creative Writing for Social Research
This groundbreaking book brings creative writing to social research. Its innovative format includes creatively written contributions by researchers from a range of disciplines, modelling the techniques outlined by the authors. The book is user-friendly and shows readers: • how to write creatively as a social researcher; • how creative writing can help researchers to work with participants and generate data; • how researchers can use creative writing to analyse data and communicate findings. Inviting beginners and more experienced researchers to explore new ways of writing, this book introduces readers to creatively written research in a variety of formats including plays and poems, videos and comics. It not only gives social researchers permission to write creatively but also shows them how to do so.
Creative Agency
This book offers a socio-cultural examination of contemporary creativity studies. Drawing heavily on posthumanist, new materialist and affective theoretics, the author argues in favour of an expansive and sustainable approach to creativity which contributes to an emergent ‘creativity studies’ inter-discipline. It seeks to establish a broader consideration of creativity in socio-culture, that extends beyond, or indeed refutes, the narrowing aperture of entrepreneurship and innovation as synonyms for creativity in economic, cultural and educational contexts and discourses. Drawing on multiple case studies of creative relational and creative ecological empirical research, this book integrates a concern for personal, planetary and geo-political collaboration, as an antidote for ‘innovation for innovation’s sake’.
Practical Autonomy and Bioethics
This book develops a unique account of autonomy in which its attribution to agents is dependent in part on their relationships with others and not merely upon their mental states. This is then applied to bioethical issues—e.g., informed consent and patient confidentiality—in which autonomy plays a central role.
The Palgrave Handbook of Screenwriting Studies
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners.
to Z of Creative Writing Methods
The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice. Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice. Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.
Death, Posthumous Harm, and Bioethics
Death, Posthumous Harm, and Bioethics offers a highly distinctive and original approach to the metaphysics of death and applies this approach to contemporary debates in bioethics that address end-of-life and post-mortem issues. Taylor defends the controversial Epicurean view that death is not a harm to the person who dies and the neo-Epicurean thesis that persons cannot be affected by events that occur after their deaths, and hence that posthumous harms (and benefits) are impossible. He then extends this argument by asserting that the dead cannot be wronged, finally presenting a defence of revisionary views concerning posthumous organ procurement.
The Palgrave Handbook of Screen Production
This handbook is an essential creative, critical and practical guide for students and educators of screen production internationally. It covers all aspects of screen production—from conceptualizing ideas and developing them, to realizing and then distributing them—across all forms and formats, including fiction and non-fiction for cinema, television, gallery spaces and the web. With chapters by practitioners, scholars and educators from around the world, the book provides a comprehensive collection of approaches for those studying and teaching the development and production of screen content. With college and university students in mind, the volume purposely combines theory and practice to offer a critically informed and intellectually rich guide to screen production, shaped by the needs of those working in education environments where ‘doing’ and ‘thinking’ must co-exist. The Palgrave Handbook of Screen Production fills an important gap in creative-critical knowledge of screen production, while also providing practical tools and approaches for future practitioners.
The Weatherwomen
Assertive, tough, and idealistic, the Weatherwomen--members of the Weather Underground Organization (WUO) from the late 1960s--were determined to stamp out sexism and social injustice. They asserted that militancy was necessary in the pursuit of a socialist revolution that would produce gender, racial, and class equality. This book excavates their long buried history and reclaims the voices of the Weatherwomen. The Weatherwomen's militant feminism had many facets. It criticized the role of women in the home, was concerned with the subordination of women to men, attacked the gender pay gap, and supported female bodily integrity. The Weatherwomen also refined their own feminist ideology into an intersectional one that would incorporate multiple identity perspectives beyond the white, American, middle-class perspective. In shaping a feminist vision for the WUO, the Weatherwomen dealt with sexism within their own organization and were dismissed by some feminist groups of the time as inauthentic. This work strives to recognize the WUO's militant feminist efforts, and the agency, autonomy, and empowerment of its female members, by concentrating on their actions and writings.
