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The Awakening (2011) and Development Practices in the British Film Industry
Alison Peirse

This article reveals how screenwriter Stephen Volk‘s idea for a sequel to The Innocents (1961, Jack Clayton) became, over the course of fifteen years, the British horror film The Awakening (2011, Nick Murphy). It examines practitioner interviews to reflect on creative labour in the British film industry, while also reorientating the analysis of British horror film to the practices of pre-production, specifically development. The research reveals that female protagonist Florence Cathcart was a major problem for the project and demonstrates how the Florence character changed throughout the development process. Repeatedly rewritten and ultimately restrained by successive male personnel, her character reveals persistent, problematic perceptions of gender in British horror filmmaking.

Film Studies

This book aims to demystify the place and power of the screenwriter within French film production, in creative and artistic terms, but also in the context of film criticism and film discourse more generally, whether that be in mainstream, popular or auteur cinema. Critical discourses on French cinema have tended to consider words to be of secondary importance to the image, regarding screenwriters as either over-dominant or completely eclipsed. The reality is, of course, that screenwriting has remained an integral part of the industry since the coming of sound. This book takes a number of key figures in the history of French screenwriting from the transition to sound to the present day, in order to explore the shifting function and position of screenwriters and major trends in screenwriting practice. It considers the industrial categorisation of screenwriting as adaptation, script development and dialogue writing, and explores creative practices around these three specialist areas – which are rarely as clearly defined as film credits might have us believe. It addresses and questions the myths that have emerged around certain writers in critical discourses, as well as the narrative mythologies that these writers have helped to shape in their films: from fatalism and the working-class (anti)hero to the small-minded petit bourgeois; from the neurotic protagonist to the naive fool of comedy. In doing so, it also reflects on the methodological challenges of screenwriting research, and the opportunities opened up by shedding light on these frequently neglected figures.

Fear on Four
Richard J. Hand

on Four was diverse in theme, there was one consistent ingredient: The Man in Black. This was an essential part of the script development too, as writer Stephen Gallagher reveals: ‘I would write the framing narration and Martin would rewrite it for his needs. That was understood’ (Stephen Gallagher, 2011 ) At the beginning of ‘A Child Crying’ (2 April 1989) by James

in Listen in terror
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Liz Tomlin

outside of the realist tradition and through theatrical as well as literary strategies, falling between two narrow remits which were constraining the potential for new forms of work to develop. The new-writing venues were rarely willing to offer dramaturgical support to work that went too far beyond familiar dramatic models and had little capacity to develop dramaturgical or ensemble processes that went beyond script development. On the other hand, the new-work venues instantly categorised work that appeared to be driven by text as falling outside of their remit. This

in Acts and apparitions
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The unrealised projects of Jack Clayton
Neil Sinyard

(1984) Based on the novel by Shirley Jackson. A script development screenplay was prepared by Paul Thain between March and June 1984. It was to be called Moon Shadows and produced by Vista Films Inc., though in a letter to Herb Jaffe (27 June 1984), Clayton mentioned that one of the co-producers, Gabe Katzka, had indicated his dislike of anything with the word ‘moon’ in the title, so Clayton proposed

in Jack Clayton
Rowland Wymer

in eternity’. 7 These performances, the nearest thing yet to the film which was eventually produced, continued for the next eighteen months at a variety of venues, the film loop eventually being replaced by a blue gel, after getting stuck in the projector on a number of occasions. Meanwhile, James Mackay had succeeded in persuading Channel Four to put up some money for script development and during 1991, after completing

in Derek Jarman
Writing the ‘tradition of quality’
Sarah Leahy and Isabelle Vanderschelden

status to genetic studies of adaptation and script development (Boillat 2011 ; 2016 ; Gaillard and Meyer 2015 ). 2 In this chapter, we will contribute to this growing body of work, concentrating on Aurenche and Bost, the most notorious (thanks to Truffaut) of the writers associated with the tradition of quality. We will consider their writing practice in relation to questions of adaptation, and

in Screenwriters in French cinema
Noémie Lvovsky, Valeria Bruni Tedeschi, Maïwenn
Sarah Leahy and Isabelle Vanderschelden

this chapter is how the polyvalent status of actor and writing director affects their artistic practice, and the process of collaborative script development more specifically. We will discuss screenwriting strategies whereby they screen, stage and narrate the self, proposing a rich and playful reworking of auteur cinema in the first person feminine, in a welcome transformation of the ‘masculine

in Screenwriters in French cinema
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Roger Singleton-Turner

worth looking at the whole area of clearances (broadly to do with public performance and copyright points). These would become relevant if your project were shown to a paying audience or on a student showcase channel such as UK’s Propeller TV. Table 14.1A Non-exclusive checklist pre-production/production DEVELOPMENT PREPARATION SHOOT Idea Information Research Proposal Treatments Script development and writing (esp. drama). Budget Sell format Copyright and/or performance clearances on script, quotations, stills, archive footage

in Cue and Cut
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Peter Hutchings

in and control over budgets, choice of projects, script development, casting, and access to technical resources in production and post-production. In a sense, they are doing different jobs. Arguably, this difference also has an impact on the way in which the films concerned are critically received. Lean’s films were likely to be taken more seriously because Lean had claimed for himself the position of independent, free

in Terence Fisher