Talking to human beings Boyce, Niall
The Lancet,
03/2024, Letnik:
403, Številka:
10432
Journal Article, Book Review
Recenzirano
The film's narrative structure told from different characters’ perspectives (in this case mother, teacher, and child) may be reminiscent of Akira Kurosawa's Rashomon (1950), but Kore-eda himself has ...rejected the comparison. ...with Kurosawa's exploration of the incompatibility of multiple perspectives, Monster reveals how individual experiences limit perception, yet still add up to a coherent whole when taken together. The fact that Sakamoto Yuji's screenplay never explicitly states that this is a first gay relationship does not, I think, indicate reticence on the part of the screenwriter, but rather society's silence on the subject.
The performance of entertainment products depends on their ability to transport the audience into the narrative. Deriving entertainment features (imagery and display of emotions) from screenplays, we ...empirically test the theory-inspired conceptual framework. The proposed framework details the nonlinear effects of imagery and display of emotions and their synergistic effects on box office performance. We correct for the sample selection bias using a sample of unproduced and produced screenplays as well as for the endogeneity due to the omitted variable bias. The results show that the increase in the relative number of characters and dialogs, decrease in scene pace, and increases in emotionality and positivity improve the box office return on investment (ROI) at a decreasing rate. A 1% desired change in entertainment features corresponds to a 1.97% increase in ROI, which is equivalent to a $1.24 million increase in revenue (assuming an average budget). Overall, this study enables film studios to identify and craft screenplays that have the potential to perform well in the box office.
In 2021, Kenichi Watanabe & Michaël Ferrier published the screenplays for their three nuclear documentaries with Gallimard as Notre ami l'atome (2021). Ferrier said these screenplays were not simple ...publications but expansions of the material they had collected in their three films, which includes expanded interviews and photographs of the disasters. In this article, I use adaptation theory to examine Watanabe & Ferrier's film Le monde après Fukushima (2013) along with the screenplay that appeared in the 2021 publication to understand the limits and possibilities each medium affords. For instance, these documentaries were partially funded by state institutions with a vested interest in the film, its reception, and its depiction of the events, whereas literature is arguably freer to express opinions because it is not tied to certain forms of state funding. This article thus uses Jan-Noël Thon's concept of transmedial adaptation to demonstrate how both media (film and text) are complementary. Rather than simply publish the screenplay, Watanabe & Ferrier use the publication as an opportunity to share expanded commentary and photography. When the film and text are read together, they become an even more explicit critique of the nations that perpetuate the use of nuclear energy despite their demonstrated dangers.
This article identifies a cohort of screenplays and screenwriters recurrent on university screenwriting reading lists – a “screenwriting canon” –dominated by hegemonic identities. We identify some ...reasons for the perpetuation of this canon and its implications and limitations. We are especially concerned by the “hidden curriculum” within tertiary screenwriting courses and seek to expose the industry biases that shape its content and distribution. We find that the screenwriting canon, as distinct from other modes of creative writing and media practice, is shaped by a specific set of industrial values originating in Hollywood, which are expressed through regimes of access to certain texts and not others. These effectively determine what is allowed to count as “good” screenwriting. We argue that if the reading, analysis, discussion, performance and rewriting of screenplays is to be a useful tool for students then access to a greater diversity of screenplays is sorely needed. As educators, it is our responsibility to interrogate and critique the values of the screen industry rather than reproduce them. We make a case for accessing a wider range of screenplays and for introducing students to industry in a way that emphasises “work-ready” values, such as analysing power relations and ethical representation.
The chosen Young Adult literary pieces for the present study are the screenplay and book versions of Fantastic Beasts, published in 2018 and 2001, respectively. The screenplay does not constitute an ...adaptation of the book; rather, it serves as a contextual backdrop to the era in which a character authored his treatise on the fauna inhabiting his surroundings. Within the literary works, the utilization of lexicons such as "monster" and "beast" appears to connote a depersonalized portrayal of the subject matter, thereby prompting inquiries as to why the author would prompt readers to associate autism with monstrosity. Is the author perpetuating the convention of employing illness as a thematic device in narrative or is she proposing an alternative perspective? To establish a foundation for these inquiries, we will examine the text through the lens of Lacan and Derrida's theories on "Subjectivity" and its role in distinguishing between fellowship, alterity, and monstrosity. The aim of this study is to examine the portrayal of autism in Rowling's screenplay, utilizing textual evidence from the book to evaluate the extent to which it aligns with reality or, conversely, perpetuates stereotypical depictions of individuals with autism.
Mortensen shows how memories are something human beings cannot control; triggered by an event, they disrupt our present state. By contrast, John's triggered memories recall scenes of previous family ...life, while simultaneously attempting to quell emotions stirred by his fathers' provocation. Insular, a slow-burner, the pace is steady, broken by a number of seemingly arbitrary still compositions, leaves dripping with the last rainfall, for example—slightly eerie, they add to, rather than break the intensity.
