scholarly journals An Eclipse of the Screen

2017 ◽  
pp. 215-237
Author(s):  
Marcus Coelen
Keyword(s):  
Film Scripts

The film script is a challenging entity for criticism. Its destiny is to disappear, its function to contribute to the production of a screen of image, music, and voice, behind which it dissolves and is forgotten. Film scripts are in principle not meant to be read. Nor are they meant to be inscribed directly into our archives and libraries. They are transient and ‘functional’.

Classic Film Scripts and Modern Film Scripts

1970 ◽  
Vol 23 (4) ◽  
pp. 62-63
Author(s):  
Ernest Callenbach
Keyword(s):  
Film Scripts

scholarly journals Directive Speech Acts in English and Spanish Filmspeak

2020 ◽  
Vol 8 (1) ◽  
pp. 105-125
Author(s):  
Carlos de Pablos-Ortega
Keyword(s):  
Speech Acts ◽  
Native Speakers ◽  
Valuable Contribution ◽  
Spanish Film ◽  
Linguistic Patterns ◽  
Different Types ◽  
Directive Speech Acts ◽  
Film Scripts ◽  
Directive Speech ◽  
Local Grammar

AbstractThe main aim of the study is to ascertain contrastively, in English and Spanish, how directive speech acts are represented in film discourse. For the purpose of the investigation, the directive speech acts of 24 films, 12 in English and 12 in Spanish, were extracted and analysed. A classification taxonomy, inspired by previous research, was created in order to categorize the different types of directive speech acts and determine their level of (in)directness. The results show that indirectness is more widely represented in the English than in the Spanish film scripts, thus confirming the assertion that being indirect is a distinctive feature of English native speakers (Grundy, 2008). This research makes a valuable contribution to the exploration of speech acts in filmspeak and informs the existing local grammar descriptions of the linguistic patterns of directive speech acts.

scholarly journals 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)

2021 ◽  
Vol 8 (8) ◽  
pp. 731-739
Author(s):  
Asima Trismawati Situmeang ◽  
Saidin . ◽  
T. Keizerina Devi A
Keyword(s):  
Film Industry ◽  
Legal Protection ◽  
Copyright Infringement ◽  
Creative Industries ◽  
Moral Rights ◽  
Economic Rights ◽  
Original Manuscript ◽  
Production House ◽  
Film Scripts ◽  
Article 5

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.

scholarly journals The Slovak “Narcissus” with Croatian roots. Rudolf Sloboda, a writer

2021 ◽  
pp. 260-274
Author(s):  
Lyudmila F. Shirokova ◽  
Keyword(s):  
Short Stories ◽  
Social Environment ◽  
Old Age ◽  
Family Problems ◽  
Egocentric Vision ◽  
Gold Reserve ◽  
Film Scripts ◽  
The Village

Rudolf Sloboda is one of the brightest and most distinctive writers of the generation of the Slovak “sixties”. He was born and lived most of his life in the village of Devinska Nova Ves near Bratislava with a predominantly Croatian population. Sloboda is the author of dozens of works, including novels, stories, short stories, essays, poems, plays, film scripts. In his work, he was based on the original “egocentric” vision of reality and the confessional-monologue type of narration. The themes of his largely autobiographical prose and drama were complex, often painful relationships between people, crisis states of the personality — everything he faced in his own life. The main space of Sloboda’s books is his native village, with its constants and inevitable transformation. The novels of the writer, first of all — “The Narcissus” (1965), “The Reason” (1982) and “The Blood” (1991), reflect the most important stages in the life and mental wavering of the author and his hero: the early youth marked by entering into an unknown social environment and his first erotic experiences; the maturity with family problems and setbacks, psychological crisis; approaching the old age with the extinction of feelings and desires, that lead to inner emptiness. The universal sound of “private” statements about the existential problems of a person, the artistic persuasiveness, originality and recognizability of his style — all this makes the works of Rudolf Sloboda a part of the Gold Reserve of the modern Slovak literature.

Film Scripts

1983 ◽  
Vol 14 (12) ◽  
pp. 140-142
Author(s):  
John Culhane ◽  
Samson Raphaelson ◽  
Leonard J. Leff ◽  
Kevin Brownlow ◽  
Roy Kinnard ◽  
...  
Keyword(s):  
Film Scripts

Wilde and Wilder

PMLA ◽  
2004 ◽  
Vol 119 (5) ◽  
pp. 1216-1230
Author(s):  
Daniel Brown
Keyword(s):  
Cultural History ◽  
Hollywood Cinema ◽  
Film Scripts ◽  
And Control ◽  
Narrative Conventions ◽  
Sunset Boulevard ◽  
Film Aesthetics

The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writes film scripts but, with his peers Betty Schaefer and Artie Green, also foregrounds narrative conventions in his efforts to organize and control his own life and experience in the film. Through its main characters, Sunset Boulevard presents an allegory of Hollywood cinema in which the complementary filmic principles of image and narrative culminate respectively in madness and death.

10. The letterless canon

2021 ◽  
pp. 104-111
Author(s):  
Ilan Stavans
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Graphic Novels ◽  
Jewish Literature ◽  
Comic Strips ◽  
Stand Up Comedy ◽  
Television Shows ◽  
Comedy Film ◽  
Film Scripts ◽  
The Way

“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.

Benefits of Film Adaptations of Literary Works for English Language Learning

2021 ◽  
pp. 178-198
Author(s):  
Sunay Öztürk ◽  
Buğra Zengin
Keyword(s):  
High School ◽  
High School Students ◽  
Language Learning ◽  
English Language ◽  
Academic Research ◽  
Film Adaptations ◽  
Mixed Method Research ◽  
School Students ◽  
Literary Works ◽  
Film Scripts

Despite their potential in language learning, films have not been covered adequately in academic research except some attempts to develop strategies. One of these strategies has been to compare film scripts and their translations, to identify chunks, technical terms, and creative language examples and to list them with their translations, and to do creative dialogue writing activities especially by modeling these scripts where chunks are used extensively. Believing in the importance of evaluating the film scripts with their translations, this study aims to investigate the processes the researcher/teacher's high school students went through in learning and using the target language starting with the use of the film adaptations of the literary works, writing their scripts modeling the film scripts, acting their own scripts, and shooting their performances. The mixed method research design was used with the triangulation of the qualitative and quantitative data. The 68 high school students' views were investigated with Likert scale (1-5) questionnaire along with their comments about the items.

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