Struggling to bring up two young daughters on his own, his representation as a primary caregiver affords a complex gendered characterization whereby the male carrying out roles usually ascribed to females problematizes gender roles in contemporary Japan. This is flagged in the opening scene, which takes place at the lunchtime break during Sports Day in a Japanese primary school.
One element of these highly organized events is the elaborate lunchboxes cooked by mothers, [vi] who usually wake very early in the day to complete this considerable culinary task. The scene showcases the beauty and variety of lunchboxes, but then throws into contrast the single father who has failed to make one, and has delivery pizza brought to the school instead.
What this example evidences is that the writing of the academic screenplay allows for a more considered, articulate, informed reply to the question, "Does this work? In academic terms, this scene also "works" because it combines all of the preceding with a thematic dissection of current social concerns, imbibing them with a commentary intended to make explicit — first and foremost to the supervisor, and secondly to other readers of the PhD within the academy — the imbrication of theoretical considerations with screenwriting craft.
An artist must be judged by how he handles the great problems of his day. And it is obligatory that he break with the past in order to comprehend the now. Welcome to Prime-time responds to this by placing patriarchy front and centre as a concern for the film, in a space that the female protagonist will enter and be compelled to engage with.
By writing the screenplay within a reflexive practice research context, we argue that the candidate has also developed into a more knowing practitioner. It opposes a complete rejection of agency, while also recognizing the slippages inherent in stated intentions. If we define the game in this particular discourse as stating that one is a screenwriter, that avowed position is not simply a given, but is problematized and examined.
In other words, by embracing the process of creative practice research, the knowing screenwriter is self-aware moment-to-moment as he creates. That is to say, previously taken-for-granted notions or unthinkingly asserted concepts are polemicized in the screenwriting process. Simultaneously, he is keenly aware of the tenuous nature of agency, a concept given added complexity by virtue of the ontological fragility of the screenplay as literature Price Similarly, the academic context allows for a consideration by the candidate of his transnational positioning.
These published academic screenplays highlight both the presence of and theory and practice, to raise questions that cannot be raised within practice. Before I answer the question, let me make two points. First, don't be ambiguous in a screenplay. Write what we see and hear. Either the.
Until the end of the 20th century, Japanese cinema was in industrial terms almost exclusively populated by Japanese practitioners. This emerging discursive site within Japanese national cinema is emblematic of questions regarding the nature, viability and sustainability of various "national cinemas", a concept whose certainty is currently being interrogated e. Vitali and Willemen Furthermore, by engaging with orientalist depictions of Japanese subjects, the candidate states his intention to counter both essentialist national cinema discourses and "othering" by Western filmmakers with what he sees as more authentic representations of Japan and the Japanese.
Authenticity is invoked not as something possessing fixity or rigidness, but rather as Vannini and Williams describe it, as something situated and arising from process and interaction: In this sense, the argument is not whether or not the British candidate is authentically Japanese, but how his own sense of self as a Japan-based screenwriter writing for Japanese-language cinema emerges in his screenwriting practice. Within that dialectic of self and society, the supervisor-candidate relationship becomes a catalyst to enhance precision of meaning and richness of depiction in the process, and facilitate an overall social, historical and theoretical resonance to be imprinted on the work in a way that would arguably be absent had the screenplay been developed in a non-academic context.
Put simply, the supervisor-candidate relationship is in one sense a richer, more complex iteration of the industrial script development process. As we have illustrated above, through the supervisor-candidate relationship within a screenwriting practice PhD, the screenwriter is required to consider not only what he wants to say, but also to make explicit why he wants to say it, and how he intends to go about it.
It is this process that makes the screenwriter a "knowing screenwriter", which when coupled with the creation of a "knowing screenplay" contributes to a growing body of knowledge for other scholars and creative practitioners. In this article we have discussed both the emergence and the nature of screenwriting as a research practice within the academy.
It is a phenomenon that is rapidly gaining traction, in Australia in particular but also internationally. As has happened with creative writing in the last ten or so years, further analysis of the work being undertaken in this discipline and the publication of more case studies from those engaged in it will give rise to what can be seen as a field with great potential, not just for the academy but also for the wider screen and media industries.
One key aspect required to make this possible, and especially to build bridges between the academy and industry, is the creation of knowledge that speaks directly about practice, and which can be valued by those outside of the academy as well as inside it. This is described in some way by Gibson You have journeyed into experience and you have an account to offer about how the heuristic processes of acknowledgement proceeded through action and repercussion.
This story of what happened in the making of the artwork is additional to the work that you can exhibit. Think of this account as a research report. It is the explication of what has been learned and earned as you survived the experience; it is the means whereby a scholarly community can be formed and all the tacit know-how that has been accrued in the creative process can be made somewhat communicable through language.
As we have outlined in this article, through supervision the creative-critical nexus is continually negotiated. In relation to the aforementioned notion of capability and knowledgeability in creative writing Harper , the supervisor of a screenwriting practice research degree must ensure the candidate creates a screenplay that will hopefully work its way towards production, but that at the very least is a "knowing screenplay" that is worthy of a research degree. The academic focus is the creative act of bringing the screenplay into being.
Therefore, language issues which may arrive later in production regarding translation, subtitling etc. PhD thesis, Queensland University of Technology. International journal of Japanese sociology , 17 1 , Journal of writing and writing courses , special issue 19, Journal of writing and writing courses , special issue 29, University of Chicago Press.
Nebula , 7 , Creative spaces for qualitative researching: Gender hybridity in a global environment' in K. Lyall Smith and P. Journal of Screenwriting , 3 2 , Journal of writing and writing courses , special issue 8, Writing in Education , 43, 64— Studies in Australasian cinema , 9 2 , Journal of writing and writing courses , special issue 7, International journal of art and design education , 30 2 , Creativity research journal , 6 , Authenticity in culture, self, and society. He is author, co-author and editor of eight books, including Screenwriters and Screenwriting: Exercises to Expand Your Craft , Screenplays: He has published many articles, reviews and book chapters on screenwriting and media writing.
However it is interesting to note that the guidelines for the Sundance Film Festival for submitting a narrative feature stipulate just 50 minutes length minimum. Frankly that surprises me. But what buyer would step up and distribute a 50 minute film? Even with the original Paranormal Activity , a found footage, contained thriller movie produced for two nickels, it clocked in at 86 minutes figure 80 minutes less credits. I mean really a movie?
Can you imagine it opening on 3, screens on a Friday night? In other words, is it big enough to be a feature length movie?
More critically, increasing expectations of producing research outputs — traditional and non-traditional — are a reality for those at universities serious about attracting research funding and climbing international league tables. In short, this is the idea that research into a subject enables a better practice of that subject capability , and at the same time a greater awareness of what we know about the subject knowledgeability is developed. Another key is that at the end of Act 2, part 1, which should be halfway through your screenplay, is to add an event that will allow your story to become more fraught with jeopardy and increase the danger the hero or heroine must face. This is the most complete package I've seen for the screenwriter in one application from outline to final draft. The statement will indicate the research significance of the creative piece and will follow the ERA guidelines on this element. I thoroughly enjoy working with Movie Outline and find it easy to use, well designed, helpful and entertaining.
If not, can you make it big enough? Questions 1 and 2 are fairly intuitive: Do I know what my story is about? How am I honoring and subverting my genre?
In that one sentence I summed up the Central Character the king , his Fatal Flaw arrogance , the main antagonistic force his stutter , the Journey working with a speech therapist , the Climax the speech and the stakes unifying his kingdom. The Central Idea is an overarching notion or theme that pushes the story forward and is tested in every scene. It is not to be confused with a logline.
The remaining 7 questions focus on character development, stakes, antagonistic forces and important story beats.