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…

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)

Explains structure and its relevance for both the practice and teaching of screenwriting. (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)

Presents a sample of college and university screenwriting programs for writers and directors. Includes opinions of faculty and professionals in the field of writing on the specific objectives of screenwriting courses, as well as methods of teaching. (JMF)

There is a fundamental division of purpose between scholarship and television. Academics deal in nuances, qualifications, and subtle distinctions, while film makers seek broad strokes, drama, and simple, vivid ideas. By accepting that difference, the two can cooperate to make good television that is good history. (MLW)

Argues that contemporary screenwriters have much to learn from journalism and from theater, especially in the move away from the linearity of the high-concept film to a richer, more complex screen story. Examines the writing skills and techniques of journalist and playwrights in developing both foreground and background stories. (KEH)

In this article, the author deals with a screenplay adaptation assignment that he gave to his students. The purpose is to make readers out of some students who don't like to read, and to teach them something about film as an art form. He starts with a film entitled, "Ernest Hemingway's Soldier's Home." He used it because of the technical…