The Palgrave Handbook of Screen Production

ISBN-13: 9783030217433 / Angielski / Twarda / 2019 / 482 str.

Craig Batty; Marsha Berry; Kath Dooley

Spis treści

Part 1: Conceptualising the screen work: ideas, intentions, contexts

Chapter 1

Creative filmmaking processes, procedures and practices: Embodied and internalised filmmaking agency

Susan Kerrigan and Phillip McIntyre

Chapter 2

Commission, position and production: Intent and intervention in minority language programmes

Diane MacLean

Chapter 3

Having something to say and saying it well

Stephen Sewell and Ben Crisp

Chapter 4

Understanding the underlying principles of the short film

Michael Sergi and Craig Batty

Chapter 5

Two screenplays, one writer, national voice

Rose Ferrell

Chapter 6

Off screen: Re-imagining animation

Rose Woodcock, Lienors Torre and Eiichi Tosaki

Chapter 7

The Dr Egg Adventures: Incorporating user-generated content and user-testing strategies in pre-production conceptualization and development of a multi-platform storyworld

Catherine Fargher

Chapter 8

Taking place, screening place: Studying locations in television drama production

Kim Toft Hansen and Anne Marit Waade

Chapter 9

Wayfaring, co-presence and mobility: Conceptualising and re-conceptualising with smartphones 

Jess Kilby and Marsha Berry

Part 2: Developing the screen work: collaboration, imagination, distillation

Chapter 10

Writing bodies: developing and scripting an embodied feature film screenplay

Kath Dooley

Chapter 11

Putting theory into practice: Structuring the personal essay documentary, The Silences

Margot Nash

Chapter 12

Work-in-progress: The Writing of Shortchanged

Margaret McVeigh

Chapter 13

Developing Baxter and Me: Maintaining authorial voice against industry pressures

Gillian Leahy

Chapter 14

Writers, producers and creative entrepreneurship in web series development

Steinar Ellingsen and Stayci Taylor

Chapter 15

Local content producers: Co-creating communal stories and community in the Big Stories, Small Towns participatory documentary project

Martin Potter

Part 3: Realising the screen work: practice, process, pragmatism

Chapter 16

Creative Practice: A Love Story

Phoebe Hart

Chapter 17

Creating and designing the contemporary soundtrack: A case study

Damian Candusso

Chapter 18

The (braided) documentary voice: theorising the complexities of documentary making 

Willemien Sanders and Kate Nash

Chapter 19

Editing the observed: Evaluation and value creation processes in the editing of a feature documentary film

Alastair Cole

Chapter 20

The beginning of a beautiful relationship: A case study exploration of collaborative creative practice

Shreepali Patel, Rob Toulson and Luis Azuaje

Chapter 21

“Make it in post”: Digital visual effects and the temporality of creative value in post-production

Tara Lomax

Chapter 22

Trapped: A case study of international co-production 

Rosamund Davies

Chapter 23

Production practices in the filming of German scripted reality shows

Daniel Klug and Axel Schmidt

Chapter 24

Embracing the TV commercial: Charms and challenges of selling on screen

Ben Crockett Chrissie Feagins

Part 4: Exhibiting the screen work: places, spaces, ecologies

Chapter 25

Producing the other in international film festivals: Festival fund, address and the making of authenticity in Gabriel Mascaro’s Neon Bull

Humberto Saldanha

Chapter 26

The Live Cinema paradox: Continuity and innovation in live film broadcast, exhibition, and production

Sarah Atkinson and Helen Kennedy 

Chapter 27

Digital disruption and innovation in distribution: Opportunities for research-based filmmaking in the new global screen ecology 

Sean Maher and Susan Kerrigan

Chapter 28

Dispositifs at play: Artists’ moving image in the gallery

Ella Barclay and Alex Munt

Chapter 29

Mobile reception: Materiality and locality with small screens

Chris Caines and Bettina Frankham

Chapter 30

Appeasing the trolls: Contextualising new screen practices with smartphones

Patrick Kelly and Marsha Berry

Part 5: Teaching the screen work: pedagogies, practices, approaches

Chapter 31

There is no ‘e’ in ‘constraints’: Teaching creativity in Higher Education screen production.

Andrew Taylor

Chapter 32

“Is this degree practical or theoretical?” Screen and media education, studio-based teaching and signature pedagogies

Brian Morris

Chapter 33

Teaching screen arts in Australia: Challenges, opportunities and current trends

Kath Dooley

Chapter 34

VR and screen education: An approach to assist student understanding of narrative emphasis, spatiality and structural elements within narrative VR

Megan Heyward

Chapter 35

Teaching screenwriting through script development: Looking beyond the screenplay

Craig Batty and Stayci Taylor

O autorze

Craig Batty is Dean of Research at University of South Australia, Australia, where he specialises in the theory and practice of screenwriting. 

Associate Professor Marsha Berry is a writer and artist, specialising in mobile media practice, at RMIT University, Australia. 

Dr Kath Dooley is a filmmaker, screenwriter and Senior Lecturer at Curtin University, Australia. 

Dr Bettina Frankham is a practice-based researcher in digital media at the University of Technology Sydney, Australia. 

Associate Professor Susan Kerrigan is a specialist in creative industries and screen production research at the University of Newcastle, Australia. 

Collectively, the editors comprise the Research Sub-Committee of the Australian Screen Production Education and Research Association (ASPERA).

Blurb

This handbook is an essential creative, critical and practical guide for students and educators of screen production internationally. It covers all aspects of screen production—from conceptualizing ideas and developing them, to realizing and then distributing them—across all forms and formats, including fiction and non-fiction for cinema, television, gallery spaces and the web. With chapters by practitioners, scholars and educators from around the world, the book provides a comprehensive collection of approaches for those studying and teaching the development and production of screen content. With college and university students in mind, the volume purposely combines theory and practice to offer a critically informed and intellectually rich guide to screen production, shaped by the needs of those working in education environments where ‘doing’ and ‘thinking’ must co-exist. The Palgrave Handbook of Screen Production fills an important gap in creative-critical knowledge of screen production, while also providing practical tools and approaches for future practitioners.