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.
Author(s): Craig Batty, Marsha Berry, Kath Dooley, Bettina Frankham, Susan Kerrigan
Publisher: Palgrave Macmillan
Year: 2019
Language: English
Pages: 500
Tags: Film And TV Production, Screen Production
Front Matter ....Pages i-xxxiv
Front Matter ....Pages 1-2
Creative Filmmaking Processes, Procedures and Practices: Embodied and Internalized Filmmaking Agency (Susan Kerrigan, Phillip McIntyre)....Pages 3-17
Commission, Position and Production: Intent and Intervention in Minority Language Programmes (Diane Maclean)....Pages 19-31
Having Something to Say and Saying It Well (Stephen Sewell, Ben Crisp)....Pages 33-47
Understanding the Underlying Principles of the Short Film (Michael Sergi, Craig Batty)....Pages 49-60
Two Screenplays, One Writer, National Voice (Rose Ferrell)....Pages 61-74
Off-screen: Reimagining Animation (Rose Woodcock, Lienors Torre, Eiichi Tosaki)....Pages 75-86
The Dr Egg Adventures: Incorporating User-Generated Content and User-Testing Strategies in Pre-production Conceptualisation and Development of a Multi-Platform Storyworld (Catherine Fargher)....Pages 87-101
Taking Place, Screening Place: Studying Locations in Television Drama Production (Kim Toft Hansen, Anne Marit Waade)....Pages 103-116
Wayfaring, Co-Presence and Mobility: Conceptualising and Re-Conceptualising with Smartphones (Jess Kilby, Marsha Berry)....Pages 117-128
Front Matter ....Pages 129-130
Writing Bodies: Developing and Scripting an Embodied Feature Film Screenplay (Kath Dooley)....Pages 131-144
Putting Theory into Practice: Structuring the Personal Essay Documentary, The Silences (Margot Nash)....Pages 145-155
Work-in-Progress: The Writing of Shortchanged (Margaret McVeigh)....Pages 157-168
Developing Baxter and Me: Maintaining Authorial Voice Despite Industry Pressures (Gillian Leahy)....Pages 169-180
Writers, Producers and Creative Entrepreneurship in Web Series Development (Steinar Ellingsen, Stayci Taylor)....Pages 181-191
Local Content Producers: Co-Creating Communal Stories and Community in the Big Stories, Small Towns Participatory Documentary Project (Martin Potter)....Pages 193-206
Front Matter ....Pages 207-208
Creative Practice: A Love Story (Phoebe Hart)....Pages 209-220
Creating and Designing the Contemporary Soundtrack: A Case Study (Damian Candusso)....Pages 221-230
The (Braided) Documentary Voice: Theorising the Complexities of Documentary Making (Willemien Sanders, Kate Nash)....Pages 231-241
Editing the Observed: Evaluation and Value Creation Processes in the Editing of a Feature Documentary Film (Alastair Cole)....Pages 243-255
The Beginning of a Beautiful Relationship: A Case Study of an Immersive Filmmaking Process (Shreepali Patel, Rob Toulson, Luis Azuaje)....Pages 257-268
“Make it in Post”: Digital Visual Effects and the Temporality of Creative Value in Post-Production (Tara Lomax)....Pages 269-280
Trapped: A Case Study of International Co-Production (Rosamund Davies)....Pages 281-291
Production Practices in the Filming of German Scripted Reality Shows (Daniel Klug, Axel Schmidt)....Pages 293-304
Embracing the TV Commercial: Charms and Challenges of Selling on Screen (Ben Crockett, Chrissie Feagins)....Pages 305-319
Front Matter ....Pages 321-322
Producing the Other in International Film Festivals: Festival Fund, Address and the Making of Authenticity in Gabriel Mascaro’s Neon Bull (Humberto Saldanha)....Pages 323-334
The Live Cinema Paradox: Continuity and Innovation in Live Film Broadcast, Exhibition and Production (Sarah Atkinson, Helen Kennedy)....Pages 335-346
Digital Disruption and Innovation in Distribution: Opportunities for Research-Based Filmmaking in the New Global Screen Ecology (Sean Maher, Susan Kerrigan)....Pages 347-362
Dispositifs at Play: Artist’s Moving Image in the Gallery (Ella Barclay, Alex Munt)....Pages 363-374
Mobile Reception: Materiality and Locality with Small Screens (Bettina Frankham, Chris Caines)....Pages 375-388
Appeasing the Trolls: Contextualising New Screen Practices with Smartphones (Patrick Kelly, Marsha Berry)....Pages 389-399
Front Matter ....Pages 401-402
There Is No ‘E’ in ‘Constraints’: Teaching Creativity in Higher Education Screen Production (Andrew Taylor)....Pages 403-414
“Is this Degree Practical or Theoretical?” Screen and Media Education, Studio-Based Teaching and Signature Pedagogies (Brian Morris)....Pages 415-425
Teaching Screen Arts in Australia: Challenges, Opportunities and Current Trends (Kath Dooley)....Pages 427-441
VR and Screen Education: An Approach to Assist Student Understanding of Narrative Emphasis, Spatiality and Structural Elements within Narrative VR (Megan Heyward)....Pages 443-458
Teaching Screenwriting Through Script Development: Looking Beyond the Screenplay (Craig Batty, Stayci Taylor)....Pages 459-472
Back Matter ....Pages 473-482
