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E-grāmata: Palgrave Handbook of Screen Production

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  • Formāts: PDF+DRM
  • Izdošanas datums: 15-Nov-2019
  • Izdevniecība: Springer Nature Switzerland AG
  • Valoda: eng
  • ISBN-13: 9783030217440
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  • Formāts: PDF+DRM
  • Izdošanas datums: 15-Nov-2019
  • Izdevniecība: Springer Nature Switzerland AG
  • Valoda: eng
  • ISBN-13: 9783030217440

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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.

Part I Conceptualising the Screen Work: Ideas, Intentions, Contexts
1(128)
Creative Filmmaking Processes, Procedures and Practices: Embodied and Internalized Filmmaking Agency
3(16)
Susan Kerrigan
Phillip McIntyre
Commission, Position and Production: Intent and Intervention in Minority Language Programmes
19(14)
Diane Maclean
Having Something to Say and Saying It Well
33(16)
Stephen Sewell
Ben Crisp
Understanding the Underlying Principles of the Short Film
49(12)
Michael Sergi
Craig Batty
Two Screenplays, One Writer, National Voice
61(14)
Rose Ferrell
Off-screen: Reimagining Animation
75(12)
Rose Woodcock
Lienors Torre
Eiichi Tosaki
The Dr Egg Adventures: Incorporating User-Generated Content and User-Testing Strategies in Pre-production Conceptualisation and Development of a Multi-Platform Storyworld
87(16)
Catherine Fargher
Taking Place, Screening Place: Studying Locations in Television Drama Production
103(14)
Kim Toft Hansen
Anne Marit Waade
Wayfaring, Co-Presence and Mobility: Conceptualising and Re-Conceptualising with Smartphones
117(12)
Jess Kilby
Marsha Berry
Part II Developing the Screen Work: Collaboration, Imagination, Distillation
129(78)
Writing Bodies: Developing and Scripting an Embodied Feature Film Screenplay
131(14)
Kath Doolcy
Putting Theory into Practice: Structuring the Personal Essay Documentary, The Silences
145(12)
Margot Nash
Work-in-Progress: The Writing of Shortchanged
157(12)
Margaret McVeigh
Developing Baxter and Me: Maintaining Authorial Voice Despite Industry Pressures
169(12)
Gillian Leahy
Writers, Producers and Creative Entrepreneurship in Web Series Development
181(12)
Steinar Ellingsen
Stayci Taylor
Local Content Producers: Co-Creating Communal Stories and Community in the Big Stories, Small Towns Participatory Documentary Project
193(14)
Martin Potter
Part III Realising the Screen Work: Practice, Process, Pragmatism
207(114)
Creative Practice: A Love Story
209(12)
Phoebe Hart
Creating and Designing the Contemporary Soundtrack: A Case Study
221(10)
Damian Candusso
The (Braided) Documentary Voice: Theorising the Complexities of Documentary Making
231(12)
Willemien Sanders
Kate Nash
Editing the Observed: Evaluation and Value Creation Processes in the Editing of a Feature Documentary Film
243(14)
Alastair Cole
The Beginning of a Beautiful Relationship: A Case Study of an Immersive Filmmaking Process
257(12)
Shreepali Patel
Rob Toulson
Luis Azuaje
"Make it in Post": Digital Visual Effects and the Temporality of Creative Value in Post-Production
269(12)
Tara Lomax
Trapped: A Case Study of International Co-Production
281(12)
Rosamund Davies
Production Practices in the Filming of German Scripted Reality Shows
293(12)
Daniel King
Axel Schmidt
Embracing the TV Commercial: Charms and Challenges of Selling on Screen
305(16)
Ben Crockett
Chrissie Feagins
Part IV Exhibiting the Screen Work: Places, Spaces, Ecologies
321(80)
Producing the Other in International Film Festivals: Festival Fund, Address and the Making of Authenticity in Gabriel Mascaro's Neon Bull
323(12)
Humberto Saldanha
The Live Cinema Paradox: Continuity and Innovation in Live Film Broadcast, Exhibition and Production
335(12)
Sarah Atkinson
Helen Kennedy
Digital Disruption and Innovation in Distribution: Opportunities for Research-Based Filmmaking in the New Global Screen Ecology
347(16)
Sean Maher
Susan Kerrigan
Dispositifs at Play: Artist's Moving Image in the Gallery
363(12)
Ella Barclay
Alex Munt
Mobile Reception: Materiality and Locality with Small Screens
375(14)
Bettina Frankham
Chris Caines
Appeasing the Trolls: Contextualising New Screen Practices with Smartphones
389(12)
Patrick Kelly
Marsha Berry
Part V Teaching the Screen Work: Pedagogies, Practices, Approaches
401(72)
There Is No `E' in `Constraints': Teaching Creativity in Higher Education Screen Production
403(12)
Andrew Taylor
"Is this Degree Practical or Theoretical?" Screen and Media Education, Studio-Based Teaching and Signature Pedagogies
415(12)
Brian Morris
Teaching Screen Arts in Australia: Challenges, Opportunities and Current Trends
427(16)
Kath Dooley
VR and Screen Education: An Approach to Assist Student Understanding of Narrative Emphasis, Spatiality and Structural Elements within Narrative VR
443(16)
Megan Heyward
Teaching Screenwriting Through Script Development: Looking Beyond the Screenplay
459(14)
Craig Batty
Stayci Taylor
Index 473
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).