![]() Screenplays are underfinanced, underdeveloped and producers approach their projects one by one, without any strategic continuity. Development is described as a critical point of the Czech film production system, responsible for the weak performance of Czech films at international festivals and on foreign markets. Based on more than 60 in-depth interviews with key Czech producers, screenwriters, and directors, the report shows how the typical business model of Czech film producers limits possibilities for more systematic screenplay development and for longer-term production strategies. It provides new interpretations of qualitative data collected for an industry report on feature film development, commissioned by the Czech State Film Fund. ![]() The study examines how Czech screen producers approach screenplay development as a collaborative practice. I make two suggestions: firstly that we might reconsider ‘originality’ as being a practical engagement with, and ‘re-writing’ of the orthodoxy and secondly that we might avoid the rigidity of linking authorship to certain roles, by considering on a case by case basis who might be thought of as ‘ le Responsable’. In this chapter I present an original survey outlining the Western orthodoxy (based on the doxa) in the form of a manifesto. What shapes this is the ‘doxa’, or the received wisdom about screenwriting that defines the screen idea and becomes the common discourse during development. I refer to the power of groups to create new work, something more than the sum of their individual parts, emerging through their collaboration as ‘sparks’. In this chapter, I discuss how we can recognise at least two views simultaneously-crediting the individual, alongside the centrality of creative group work-if we see the same thing as if through different lenses, offering different perspectives. The Artist’s Genius is then measured by the size and novelty of their contribution to the Work. It seems as if we still lean towards the notion of an inexplicable Muse inspiring the Artist, who then crafts it on to the page. We admire a writer’s ‘voice’, vision and talent, and think of group work as feedback designed to perfect that, to polish it up in ways suitable for production. We usually default to the idea of a single author, working within (and sometimes against) the rules of the game. This chapter examines whether, in screen idea development, we are right to focus on individual authorship as the source of originality in a situation that is observably a group activity. 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. ![]() 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. 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. ![]() 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. This book offers the first international look at how script development is theorised and practiced.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |