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"Narrative Life" in Film and the Role of Screenwriting Practices

"Narrative Life" in Film and the Role of Screenwriting Practices chris dent Introduction about the dead and the undead. The practices around describing narrative life will be ana- there are limits to what can be portrayed lyzed in terms of “discursive practices”—taken in film. A particular realm that screenwriters from the realm of poststructuralist theory—in have engaged with, with some difficulties, is order to consider the specifics of the discussed that of death. Death is outside the daily experi- films, in terms of the body of knowledge with ence of the audience (and writers), so there which the writers work. This analysis, therefore, are not common referents that can be used. provides a theoretically based understanding Further, the dead are inanimate—and stasis is of the limits of expression and, as a result, the hard to build a commercial movie around. That content of what appears onscreen. The goal, said, certain themes may be explored by using however, is to expand the discussion of the ostensibly dead characters. Writers, therefore, extent to which audiences take lessons from have to use techniques usually adopted for movies—the extent to which films, as technolo - describing reality in order to “bring life” to gies of “biopower,” guide us in the living of our http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

"Narrative Life" in Film and the Role of Screenwriting Practices

Journal of Film and Video , Volume 73 (3) – Sep 16, 2021

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

chris dent Introduction about the dead and the undead. The practices around describing narrative life will be ana- there are limits to what can be portrayed lyzed in terms of “discursive practices”—taken in film. A particular realm that screenwriters from the realm of poststructuralist theory—in have engaged with, with some difficulties, is order to consider the specifics of the discussed that of death. Death is outside the daily experi- films, in terms of the body of knowledge with ence of the audience (and writers), so there which the writers work. This analysis, therefore, are not common referents that can be used. provides a theoretically based understanding Further, the dead are inanimate—and stasis is of the limits of expression and, as a result, the hard to build a commercial movie around. That content of what appears onscreen. The goal, said, certain themes may be explored by using however, is to expand the discussion of the ostensibly dead characters. Writers, therefore, extent to which audiences take lessons from have to use techniques usually adopted for movies—the extent to which films, as technolo - describing reality in order to “bring life” to gies of “biopower,” guide us in the living of our

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Sep 16, 2021

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