[ecrea] CFP: Working the Film Script

*Call for Papers*

*Working the Film Script: Hidden Production Histories *

*A Symposium at the Bill Douglas Cinema Museum, University of Exeter*

*Saturday 23^rd March 2019
Keynote Speaker: Dr Melanie Williams (UEA)*


A symposium to illuminate the otherwise hidden labour of individuals who 
work on/with film scripts, including screenwriters, continuity/script 
supervisors, script editors, text advisors/researchers, (sub)titlers, 
translators, authors of source texts (and their representatives), 
legislators, censors and other production roles. The symposium 
also invites prospective delegates to explore research on the production 
of screenplays, treatments, shooting scripts, subtitles, fan fiction, 
promotional synopses and other written ‘versions’ which may serve 
diverse cultural ends.


Film studies has increasingly relied upon collaborative models of 
authorship, but not necessarily at the expense of downplaying individual 
contributions. Recent production studies and feminist film 
historiographies strategically distinguish the work of academically 
marginalised agents from within their respective networks. Speakers are 
invited to debate case studies which demonstrate how the script (broadly 
understood) has been worked by underappreciated individuals, and their 
efforts to share or silo time, energy and expertise within hierarchical 
or communal production scenarios.

Overall, the symposium aims to evidence the act of scripting film 
narrative and style in historical production contexts, using 
wide-ranging examples of specialist labour: plotting shots, managing 
continuity, adapting films from/to literature, the iterative process of 
screenwriting, and so on. A second aim will be to provide pragmatic 
production histories that showcase novel methodological and/or archival 
resources, in keeping with the choice of venue:*The Bill Douglas Cinema 
Museum*. Among the Museum’s 75,000+ itemsare published and unpublished 
screenplays, novelisations of popular films (including the ‘Reader’s 
Library’ series), source texts, various filmmaking manuals, programmes 
and press books containing plot summaries, and relevant individual 
collections including those of Gavrik Losey (film producer), Pamela 
Davies (continuity supervisor), and the filmmaker Bill 
Douglas.*A**sample of items which thematically complement the symposium 
will be available for delegates to browse on the day.*

If you would like to present a paper, please email a 250 word abstract 
and 100 word bio (toscriptwork /at/ exeter.ac.uk) 
<mailto:(scriptwork /at/ exeter.ac.uk)>by*23rd January 2019.*Preference will be 
given to papers which respond to one or more of the following provocations:

1) What academically marginalised production roles are illuminated by 
researching script work in film, broadly understood?

2) How does scripting intersect with gender, class, racial and political 
identity?
3) How is script work influenced by transnational workflows, from 
subtitling dialogue for international audiences to exporting literary 
‘properties’?
4) What methodological, archival and technological resources are 
available to researchers of script work in film?

Enquiries addressed (toscriptwork /at/ exeter.ac.uk) 
<mailto:(scriptwork /at/ exeter.ac.uk)>**will be checked by Steven Roberts (PhD 
Student and Museum Intern). The symposium is being coordinated by Steven 
during a six-month placement at the Bill Douglas Cinema Museum (where he 
is cataloguing the Pamela Davies collection), with organizational 
assistance from University of Exeter colleagues.

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