Palgrave Handbook of Screenwriting Studies

Rosamund Davies has a background of professional practice in the screen industries and is Senior Lecturer at the University of Greenwich, UK.Paolo Russo is Senior Lecturer in Film at Oxford Brookes University, UK, and a former Chairperson of the Screenwriting Research Network. He is also a professional screenwriter. Claus Tieber teaches Film Studies at universities in Vienna, Brno, Kiel, and Salamanca and is a former Chairperson of the Screenwriting Research Network.

• 1.Introduction.- Part I: What Screenwriting ontology: Defining the screenplay and screenwriting.- 2. How to Think about Screenwriting.- 3. Screenplectics: Screenwriting as a Complex Adaptive System.- 4. Collaboration, Cooperation, and Authorship in Screenwriting aka How Many People Does It Take to Create an Author?.- 5. Acts of Reading: The Demands on Screenplay Reading.- 6. The Reality of (Screen) Characters.- 7. “We Come to Realize”: Screenwriting and Representations of Time.- 8. The Motion-Picture Screenplay as Data: Quantifying the Stylistic Differences Between Dialogue and Scene Text.- 9. Writer/Reader as Performer: Creating a Negotiated Narrative.-10. An Ontology of the Interactive Scripts.- PART II: When/Where Screenwriting Historiography.- 11. Historiographies of Screenwriting.- 12. They Actually Had Scripts in Silent Films? Researching Screenwriting in the Silent Era.- 13. Silent Screenwriting in Europe: Discourses on Authorship, Form, and Literature.- 14. When Women Wrote Hollywood: How Early Female Screenwriters Disappeared from the History of the Industry They Created. A Case Study of Four Female Screenwriters.- 15. Narrating with Music: Screenwriting Musical Numbers.- 16. Women Screenwriters of Early Sinophone Cinema: 1916–1949.- 17.  A Historiography of Japanese Screenwriting.- 18. Writing Social Relevance: U.S. Television Dramas in the Civil Rights Era.- 19. Horror Bubbles: Andrés Caicedo’s Weird Screenplays.- 20. Writers as Workers: The Making of a Film Trade Union in India.- 21. The Evolving Depictions of Black South Africans in the Post-Apartheid Screenwriting Tradition.- PART III: Who Screenwriting and the Screen Industries.- 22. The International Writers’ Room: A Transnational Approach to Serial Drama Development from an Italian Perspective.- 23.  Writing Online Drama for Public Service Media in the Era of Streaming Platform.- 24. Screenwriting for Children and Young Audiences.- 25. Imitations of Life? A Challenge for Black Screenwriters.- 26.  Beauties and Beasts: The Representation of National Identity through Characterization in Syrian-Lebanese Pan-Arab Dramas.- 27. “That’s a Chick’s Movie!”: How Women Are Excluded from Screenwriting Work.- 28. The Different American Legal Structures for Unionization of Writers for Stage and Screen.- PART IV: How Approaches to Screen Storytelling.- 29. Random Access Memories: Screenwriting for Games.- 30. “Everybody Chips in Ten Cents, and Somehow It Seems to Add Up to a Dollar”: Exploring the Visual Toolbox for Animation Story Design.- 31.  The Short-Form Scripted Serial Drama: The Novice Showrunner’s New Opportunity.- 32. The Plural Protagonist. Or: How To Be Many and Why.- 33. The Haptic Encounter: Scripting Female Subjectivity.- 34. Script Development from the Inside Looking Out.Telling a Transnational Story in the Australian Films 33 Postcards (Chan, 2011) and Strange Colours (Lodkina, 2017).- 35. Extended How? Narrative Structure in the Short and Long Versions of The Lord of the Rings, Kingdom of Heaven, and Dances with Wolves.- PART V: How To Researching and Teaching Screenwriting: Discourses and Methods.- 36.  Film Dramaturgy: A Practice and a Tool for Researchers.- 37. Screenwriting Pedagogy in the United States: In Search of the Missing Pieces.- 38. Screenwriting Manuals and Pedagogy in Italy from the 1930s to the End of the 20th Century.- 39. Screenwriting, Short Film, and Pedagogy.- 40. Screenwriters in the Academy: The Opportunities of Research-Led Practice.