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[Commlist] The Palgrave Handbook of Screen Production
Fri Jan 10 16:14:03 GMT 2020
*The Palgrave Handbook of Screen Production*has recently been published,
and it features many members of this network. We the editors hoe you and
your students will find it greatly useful for teaching and research!
https://www.palgrave.com/gp/book/9783030217433
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.
Table of Contents:
*//*
*/_Part 1: Conceptualising the screen work: ideas, intentions,
contexts_/**__*
*//*
Chapter 1
*Creative filmmaking processes, procedures and practices: Embodied and
internalised filmmaking agency*
Susan Kerrigan and Phillip McIntyre
Chapter 2
*Commission, position and production: Intent and intervention in
minority language programmes*
Diane MacLean
Chapter 3
*Having something to say and saying it well*
Stephen Sewell and Ben Crisp
Chapter 4
*Understanding the underlying principles of the short film*
Michael Sergi and Craig Batty
Chapter 5
*Two screenplays, one writer, national voice*
Rose Ferrell
Chapter 6
*Off screen: Re-imagining animation*
Rose Woodcock, Lienors Torre and Eiichi Tosaki
Chapter 7
*/The Dr Egg Adventures/**: Incorporating user-generated content and
user-testing strategies in pre-production conceptualization and
development of a multi-platform storyworld*
Catherine Fargher
*//*
Chapter 8
*Taking place, screening place: Studying locations in television drama
production*
Kim Toft Hansen and Anne Marit Waade
*//*
Chapter 9
*Wayfaring, co-presence and mobility: Conceptualising and
re-conceptualising with smartphones *
Jess Kilby and Marsha Berry
*//*
*/_Part 2: Developing the screen work: collaboration, imagination,
distillation_/*
Chapter 10
*Writing bodies: developing and scripting an embodied feature film
screenplay*
Kath Dooley
Chapter 11//
*Putting theory into practice: Structuring the personal essay
documentary, /The Silences/*
Margot Nash**
Chapter 12
*Work-in-progress: The Writing of /Shortchanged/*
Margaret McVeigh
Chapter 13
*Developing /Baxter and Me: /Maintaining//authorial voice against
industry pressures*
Gillian Leahy
Chapter 14
*Writers, producers and creative entrepreneurship in web series development*
Steinar Ellingsen and Stayci Taylor
Chapter 15
*Local content producers: Co-creating communal stories and community in
the /Big Stories, Small Towns/ participatory documentary project*
Martin Potter
*/_Part 3: Realising the screen work: practice, process, pragmatism_/*
Chapter 16
*Creative Practice: A Love Story*
Phoebe Hart
Chapter 17
*Creating and designing the contemporary soundtrack: A case study*
Damian Candusso
Chapter 18
*The (braided) documentary voice: theorising the complexities of
documentary making *
Willemien Sanders and Kate Nash
Chapter 19
*Editing the observed: Evaluation and value creation processes in the
editing of a feature documentary film*
Alastair Cole
Chapter 20
*The beginning of a beautiful relationship: A case study exploration of
collaborative creative practice*
Shreepali Patel, Rob Toulson and Luis Azuaje
Chapter 21
*“Make it in post”: Digital visual effects and the temporality of
creative value in post-production*
Tara Lomax
Chapter 22
*/Trapped/**: A case study of international co-production *
Rosamund Davies
Chapter 23
*Production practices in the filming of German scripted reality shows*
Daniel Klug and Axel Schmidt
Chapter 24
*Embracing the TV commercial: Charms and challenges of selling on screen*
Ben Crockett Chrissie Feagins
*/_Part 4: Exhibiting the screen work: places, spaces, ecologies_/*
Chapter 25
*Producing the other in international film festivals: Festival fund,
address and the making of authenticity in Gabriel Mascaro’s /Neon Bull/*
Humberto Saldanha
Chapter 26
*The Live Cinema paradox: Continuity and innovation in live film
broadcast, exhibition, and production*
Sarah Atkinson and Helen Kennedy
Chapter 27
*Digital disruption and innovation in distribution: Opportunities for
research-based filmmaking in the new global screen ecology *
Sean Maher and Susan Kerrigan
Chapter 28
*Dispositifs at play: Artists’ moving image in the gallery*
Ella Barclay and Alex Munt
Chapter 29
*Mobile reception: Materiality and locality with small screens*
Chris Caines and Bettina Frankham
Chapter 30
*Appeasing the trolls: Contextualising new screen practices with
smartphones*
Patrick Kelly and Marsha Berry
*/_Part 5: Teaching the screen work: pedagogies, practices, approaches_/*
Chapter 31
*There is no ‘e’ in ‘constraints’: Teaching creativity in Higher
Education screen production.*
Andrew Taylor
Chapter 32
*“Is this degree practical or theoretical?” Screen and media education,
studio-based teaching and signature pedagogies*
Brian Morris
Chapter 33
*Teaching screen arts in Australia: Challenges, opportunities and
current trends*
Kath Dooley
Chapter 34
*VR and screen education: An approach to assist student understanding of
narrative emphasis, spatiality and structural elements within narrative VR*
Megan Heyward
Chapter 35
*Teaching screenwriting through script development: Looking beyond the
screenplay*
Craig Batty and Stayci Taylor
‘This book brings together an impressive and complimentary group of
international screen practitioner-academics who explore and share their
experiences of screen production not only as a creative endeavour, but
also as a space of discovery and enlightenment. At a time of immense
transformation within screen production practices, it is extremely
valuable for the student and researcher to have access to such a
comprehensive coverage of issues, themes and debates all within one
book. The clear commitment to the critically engaged reflexive
practitioner provides practical guidance that truly reflects the
maturing relationships between screen production practices, screen
production education and screen production research.’ /(Erik Knudsen,
Filmmaker and Professor of Media Practice, University of Central
Lancashire, UK)/
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