Dimensions
161 x 234 x 23mm
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. It focuses on key topics such as the notion of the script as blueprint, the emergence of the screenplay and the politics of writing for the screen. Bringing an accessible academic approach to practitioner-oriented discussions of craft, the book provides a new perspective on debates to do with auteurism, funding processes, digital technology and the future of scripting. Focusing primarily on screenwriting in the US, this work builds on a wide range of writings by filmmakers and screenwriters and the work of different critics and theorists who have theorised the script, including Sergei Eisenstein, Pier Paolo Pasolini, Janet Staiger and Dudley Nichols.
