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Objectivity in Journalism
Objectivity in journalism is a key topic for debate in media, communication and journalism studies, and has been the subject of intensive historical and sociological research. In the first study of its kind, Steven Maras surveys the different viewpoints and perspectives on objectivity. Going beyond a denunciation or defence of journalistic objectivity, Maras critically examines the different scholarly and professional arguments made in the area. Structured around key questions, the book considers the origins and history of objectivity, its philosophical influences, the main objections and defences, and questions of values, politics and ethics. This book examines debates around objectivity as a transnational norm, focusing on the emergence of objectivity in the US, while broadening out discussion to include developments around objectivity in the UK, Australia, Asia and other regions.
Ethics in Screenwriting
Ethics in Screenwriting: New Perspectives is a book that breaks new ground by forging a link between screenwriting research and a burgeoning interest in film, media, and narrative ethics. Going beyond the orthodox discussion of morality of film and television, the collection focuses on ethics in screenwriting. Building on a new wave of screenwriting research, as well as a ‘turn to ethics’ in humanities and media studies scholarship, this title forms a bridge between these areas in a unique analysis of a key area of media practice. Each essay goes beyond the general discussion of ethics and media to engage with specific aspects of screenwriting or scripting. Written for readers interested in questions of ethics as well as screenwriting, the collection offers new perspectives on ethical questions associated with Writers and their Production Environment; Actuality and History; and Character and Narrative.
Screenwriting
Working across contemporary histories of film and screenwriting, and US screenwriting manuals from the 1910s and 1920s, this volume breaks new ground in thinking about the nature of scripting, and how screenwriting took shape as a particular kind of practice.
A Philosophy of the Screenplay
Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks.
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.
Journalistic Authority
When we encounter a news story, why do we accept its version of events? Why do we even recognize it as news? A complicated set of cultural, structural, and technological relationships inform this interaction, and Journalistic Authority provides a relational theory for explaining how journalists attain authority. The book argues that authority is not a thing to be possessed or lost, but a relationship arising in the connections between those laying claim to being an authority and those who assent to it. Matt Carlson examines the practices journalists use to legitimate their work: professional orientation, development of specific news forms, and the personal narratives they circulate to suppor...
Robert Altman and the Elaboration of Hollywood Storytelling
Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach ho...
Transnational European Television Drama
This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. It demonstrates that the diversity of national cultures is a challenge for European TV drama but also a potential richness and source of creative variation. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture. The authors analyse main tendencies in television policy and challenges for national broadcasters coming from new global streaming services. Comparing cases of historical, contemporary and crime drama from several countries, this study shows the importance of creative co-production and transnational mediated cultural encounters between national cultures of Europe.
The Modernist Screenplay
The Modernist Screenplay explores the film screenplay as a genre of modernist literature. It connects the history of screenwriting for silent film to the history of literary modernism in France, Germany, and Russia. At the same time, the book considers how the screenplay responded to the modernist crisis of reason, confronted mimetic representation, and sought to overcome the modernist mistrust of language with the help of rhythm. From the silent film projects of Bertolt Brecht, to the screenwriting of Sergei Eisenstein and the poetic scripts of the surrealists, The Modernist Screenplay offers a new angle on the relationship between film and literature. Based on the example of modernist scre...
Off the Page
Introduction: screenwriting off the page -- Millennial manic: crisis and change in the business of screenwriting -- Atop the tentpole: hollywood screenwriting today -- Running the room: screenwriting in expanded television -- New markets and microbudgets: "independent" storytellers -- Screenwriter 2.0: the legitimation of writing for video games -- Conclusion: scripting boundaries
