Introduction to screen narrative: perspectives on story production and comprehension
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2024
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| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xix, 301 Seiten |
| ISBN: | 9781032055206 9781032055213 |
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Datensatz im Suchindex
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| adam_text | CONTENTS Foreword by Patrick Colm Hogan Acknowledgments List of Contributors Introduction Catalina Iricinschi and Paul Taberham 1 Dimensions of Narrative Paul Taberham viii xiii xiv 1 10 PARTI Convention, Deviation, Evolution 27 2 Enjoying Classical Hollywood Storytelling Todd Berliner 29 3 American Independent Cinema Geoff King 49 4 Interview: David J. Greenberg 67
vl Contents 5 Complex Film Narratives: Diegetic Fictionalization in Christopher Nolan’s Fantastical Puzzle Film Cycle Miklos Kiss 71 PART II Art Cinema 6 Realism, Time, and Ambiguity: Narration in Art-Cinema Paul Taberham 93 95 7 Interview: Ioana Uricaru 118 8 Pseudo-Narration in Jean-Luc Godard’s Late Films Andras Balint Kovacs 122 9 Defining a Lynchian Narrative Neil McCartney 137 PART III Alternative Media 149 10 Television Narrative: Forms, Strategies, and Histories Sean O’Sullivan and Robyn Warhol 151 11 The Way Toons Tell It: Animation’s Narrative Strategies Christopher Holliday 175 12 Interview: Josh Weinstein 194 13 Video Game Narrative: Concepts and Practices for Structuring and Infusing Story in Games Dominic Arsenault 197 14 Interview: Evan Skolnick 218 15 Transmedia Storyworlds and Transmedia Universes Jan-Noël Thon 222
Contents vli PART IV New Perspectives 237 16 Two Philosophies of the Screenplay Enrico Terrone 239 17 The Absorbed Viewer’s Activity Ed S. Tan and Katalin E. Balint 256 18 Narrative Events: Segmenting, Parsing, and Story Comprehension Catalina Iricinschi 275 Index 296
Bringing together the expertise of world-leading screenwriters and scholars, this book offers a comprehensive overview of how screen narratives work. Exploring a variety of mediums including feature films, television, animation, and video games, the volume provides a contextual overview of the form and applies this to the practice of screenwriting. Featuring over 20 contributions, the volume surveys the art of screen narrative, and allows students and screenwriters to draw on crucial insights to further improve their screenwriting craft. Editors Paul Taberham and Catalina Iricinschi have curated a volume that spans a range of disciplines including screenwriting, film theory, philosophy and psychology with experience and expertise in storytelling, modern blockbusters, puzzle films and art cinema. Screenwriters interviewed include: Josh Weinstein (The Simpsons, Gravity Falls), David Greenberg (Stomping Ground, Used to Love Her), Evan Skolnick and Ioana Uricaru. Ideal for students of Screenwriting and Screen Narrative as well as aspiring screenwriters wanting to provide theoretical context to their craft. Paul Taberham is Associate Professor in Film and Animation Studies at the Arts University Bournemouth, UK. He is the author of Lessons in Perception: The Avant-Garde Filmmaker as Practical Psychologist (Berghahn, 2018) and the forthcoming Animated Visions: Theory, History and Aesthetics (Berghahn, 2024). He is also the co-editor of Cognitive Media Theory (Routledge, 2014) with Ted Nannicelli, and Experimental Animation: From Analogue to Digital (Routledge, 2019) with Miriam
Harris and Lilly Husbands. Paul is a fellow of the Society of Cognitive Studies of the Moving Image, and on the editorial board for Animation: An Interdisciplinary Journal. Catalina Iricinschi is Visiting Assistant Professor of Psychology at Franklin Marshall College. Research interests include event segmentation in film narrative, eye tracking in narrative processing, narrative of belonging and displacement, place and space depiction in film narrative, and Romanian cinema. She has published in journals such as Cognitive Science, Projections: The Journal for Movie and Mind, I-Perception, along with the edited anthologies Space in Language and the forthcoming Narrative, Media and Cognition.
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| adam_txt |
CONTENTS Foreword by Patrick Colm Hogan Acknowledgments List of Contributors Introduction Catalina Iricinschi and Paul Taberham 1 Dimensions of Narrative Paul Taberham viii xiii xiv 1 10 PARTI Convention, Deviation, Evolution 27 2 Enjoying Classical Hollywood Storytelling Todd Berliner 29 3 American Independent Cinema Geoff King 49 4 Interview: David J. Greenberg 67
vl Contents 5 Complex Film Narratives: Diegetic Fictionalization in Christopher Nolan’s Fantastical Puzzle Film Cycle Miklos Kiss 71 PART II Art Cinema 6 Realism, Time, and Ambiguity: Narration in Art-Cinema Paul Taberham 93 95 7 Interview: Ioana Uricaru 118 8 Pseudo-Narration in Jean-Luc Godard’s Late Films Andras Balint Kovacs 122 9 Defining a Lynchian Narrative Neil McCartney 137 PART III Alternative Media 149 10 Television Narrative: Forms, Strategies, and Histories Sean O’Sullivan and Robyn Warhol 151 11 The Way Toons Tell It: Animation’s Narrative Strategies Christopher Holliday 175 12 Interview: Josh Weinstein 194 13 Video Game Narrative: Concepts and Practices for Structuring and Infusing Story in Games Dominic Arsenault 197 14 Interview: Evan Skolnick 218 15 Transmedia Storyworlds and Transmedia Universes Jan-Noël Thon 222
Contents vli PART IV New Perspectives 237 16 Two Philosophies of the Screenplay Enrico Terrone 239 17 The Absorbed Viewer’s Activity Ed S. Tan and Katalin E. Balint 256 18 Narrative Events: Segmenting, Parsing, and Story Comprehension Catalina Iricinschi 275 Index 296
Bringing together the expertise of world-leading screenwriters and scholars, this book offers a comprehensive overview of how screen narratives work. Exploring a variety of mediums including feature films, television, animation, and video games, the volume provides a contextual overview of the form and applies this to the practice of screenwriting. Featuring over 20 contributions, the volume surveys the art of screen narrative, and allows students and screenwriters to draw on crucial insights to further improve their screenwriting craft. Editors Paul Taberham and Catalina Iricinschi have curated a volume that spans a range of disciplines including screenwriting, film theory, philosophy and psychology with experience and expertise in storytelling, modern blockbusters, puzzle films and art cinema. Screenwriters interviewed include: Josh Weinstein (The Simpsons, Gravity Falls), David Greenberg (Stomping Ground, Used to Love Her), Evan Skolnick and Ioana Uricaru. Ideal for students of Screenwriting and Screen Narrative as well as aspiring screenwriters wanting to provide theoretical context to their craft. Paul Taberham is Associate Professor in Film and Animation Studies at the Arts University Bournemouth, UK. He is the author of Lessons in Perception: The Avant-Garde Filmmaker as Practical Psychologist (Berghahn, 2018) and the forthcoming Animated Visions: Theory, History and Aesthetics (Berghahn, 2024). He is also the co-editor of Cognitive Media Theory (Routledge, 2014) with Ted Nannicelli, and Experimental Animation: From Analogue to Digital (Routledge, 2019) with Miriam
Harris and Lilly Husbands. Paul is a fellow of the Society of Cognitive Studies of the Moving Image, and on the editorial board for Animation: An Interdisciplinary Journal. Catalina Iricinschi is Visiting Assistant Professor of Psychology at Franklin Marshall College. Research interests include event segmentation in film narrative, eye tracking in narrative processing, narrative of belonging and displacement, place and space depiction in film narrative, and Romanian cinema. She has published in journals such as Cognitive Science, Projections: The Journal for Movie and Mind, I-Perception, along with the edited anthologies Space in Language and the forthcoming Narrative, Media and Cognition. |
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| spelling | Introduction to screen narrative perspectives on story production and comprehension edited by Paul Taberham and Catalina Iricinschi London ; New York Routledge, Taylor & Francis Group 2024 xix, 301 Seiten txt rdacontent n rdamedia nc rdacarrier Taberham, Paul (DE-588)1176130927 edt win aut Iricinschi, Catalina edt win aut Erscheint auch als Online-Ausgabe 978-1-003-19791-1 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034610037&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034610037&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Taberham, Paul Iricinschi, Catalina Introduction to screen narrative perspectives on story production and comprehension |
| title | Introduction to screen narrative perspectives on story production and comprehension |
| title_auth | Introduction to screen narrative perspectives on story production and comprehension |
| title_exact_search | Introduction to screen narrative perspectives on story production and comprehension |
| title_exact_search_txtP | Introduction to screen narrative perspectives on story production and comprehension |
| title_full | Introduction to screen narrative perspectives on story production and comprehension edited by Paul Taberham and Catalina Iricinschi |
| title_fullStr | Introduction to screen narrative perspectives on story production and comprehension edited by Paul Taberham and Catalina Iricinschi |
| title_full_unstemmed | Introduction to screen narrative perspectives on story production and comprehension edited by Paul Taberham and Catalina Iricinschi |
| title_short | Introduction to screen narrative |
| title_sort | introduction to screen narrative perspectives on story production and comprehension |
| title_sub | perspectives on story production and comprehension |
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