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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!

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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