One of the main drivers of acting creatively is people's belief that they can do so. Yet, most of the previous work on creative self-concept takes a domain-general perspective, telling us little about whether domain-specific interventions or activities can build people's creative self-perception. This paper specifically considers the domain of…

Cinema's pedagogical essence nurtures a variety of educational strategies. Beyond serving as a support to other areas of knowledge or as the subject of artistic analysis, it also provides students with a means to give -- freely and significantly -- voice to their own concerns and interests. Short film production in schools can offer a process for…

This article explores academic and industry perspectives on the use of dialect, slang, and historical language in screenwriting. It offers a chronological overview of major screenwriting manuals' treatment of dialect and slang (or lack thereof) 1946-2020. It then presents survey data of 53 currently-practicing screenwriters' views on working with…

Network Text Analysis (NTA) involves the creation of networks of words and/or concepts from linguistic data. Its key insight is that the position of words and concepts in a text network provides vital clues to the central and underlying themes of the text as a whole. Recent research has relied on inductive approaches to identify these themes. In…

This article draws on the experiences of two young adults, Sean and Jerome, who participated in a writing workshop at a juvenile detention center. The young adults composed screenplays to explore how writing could call on their unique perspectives and life experiences to amplify their beliefs. While some educators emphasize a skills-based…

This study interrogated the central theoretical statement that understanding and learning to apply the abstract concept of classical dramatic narrative structure can be addressed effectively through a useful audiovisual teaching method. The purpose of the study was to design an effective DVD teaching and learning aid, to justify the design through…

Chooses three "scripts" for experimental films by the Toronto filmmaker Mike Hoolboom, who uses texts in his films in diverse and challenging ways. Describes the role of text and voice in these experimental scripts. Notes that these scripts are used in a screenwriting course. (PA)

Examines the classical paradigm in which both temporal and spatial cohesion constitute a popular and desirable characteristic in presentational story-telling. Argues that fragmentation's maneuvers are as effective as a configurating tool and as cohesion because they advance the ideological, psychoanalytic, aesthetic, essentialist, and story…

Instructs writing students on how to verbally present their ideas. Points out that success in screenwriting depends not only on how well scripts are written but also how well screenwriters sell themselves and their scripts. Adds comments for instructors who want to teach pitching as part of a scriptwriting course. (PD)

Suggests American screenwriters experiment with the lighting, colors, perspectives, angles, and positioning of images in works of art to generate narrative. Argues that American screenwriters, unlike European counterparts, unnecessarily adhere to the concept that characterization is essential to generate narrative. (KEH)

Examines similarities and differences between writing short, live-action narrative films and writing feature films. Examines market influence, budget, structure, and story factors. Describes useful procedures for inclusion in a scriptwriting class. (KEH)

Suggests a number of helpful resources, including textbooks, published and unpublished screenplays, contemporary critical writing, screenplay competitions, contact with industry professionals, and software programs for the screenwriter. (PD)

Reviews the selection of screenwriting texts as well as other material available to the screenwriter teacher and screenwriter. Focuses on writing materials for film and prime time television only. (KEH)

Describes a production-oriented course designed to give students experience in writing for film and knowledge of screenwriting techniques and film planning activities. (PD)

Defines and analyzes the ideological conditions which motivate a writer to conclude a screenplay with an open ending. Questions whether screenwriting instructors in the 1990s should encourage their students to write nonclassical Hollywood cinema endings. (KEH)