The Palgrave Handbook of Screen Production

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.

Auteur

Craig Batty is Dean of Research at University of South Australia, Australia, where he specialises in the theory and practice of screenwriting.

Associate Professor Marsha Berry is a writer and artist, specialising in mobile media practice, at RMIT University, Australia.

Dr Kath Dooley is a filmmaker, screenwriter and Senior Lecturer at Curtin University, Australia.

Dr Bettina Frankham is a practice-based researcher in digital media at the University of Technology Sydney, Australia.

Associate Professor Susan Kerrigan is a specialist in creative industries and screen production research at the University of Newcastle, Australia.

Collectively, the editors comprise the Research Sub-Committee of the Australian Screen Production Education and Research Association (ASPERA).

Contenu
Part 1: Conceptualising the screen work: ideas, intentions, contexts
Chapter 1Creative filmmaking processes, procedures and practices: Embodied and internalised filmmaking agencySusan Kerrigan and Phillip McIntyre
Chapter 2Commission, position and production: Intent and intervention in minority language programmesDiane MacLean
Chapter 3Having something to say and saying it wellStephen Sewell and Ben Crisp
Chapter 4Understanding the underlying principles of the short filmMichael Sergi and Craig Batty
Chapter 5Two screenplays, one writer, national voiceRose Ferrell
Chapter 6Off screen: Re-imagining animationRose Woodcock, Lienors Torre and Eiichi Tosaki
Chapter 7The Dr Egg Adventures: Incorporating user-generated content and user-testing strategies in pre-production conceptualization and development of a multi-platform storyworldCatherine Fargher
Chapter 8Taking place, screening place: Studying locations in television drama productionKim Toft Hansen and Anne Marit Waade
Chapter 9Wayfaring, 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 10Writing bodies: developing and scripting an embodied feature film screenplayKath Dooley
Chapter 11Putting theory into practice: Structuring the personal essay documentary, The SilencesMargot Nash
Chapter 12Work-in-progress: The Writing of ShortchangedMargaret McVeigh
Chapter 13Developing Baxter and Me: Maintaining authorial voice against industry pressuresGillian Leahy
Chapter 14Writers, producers and creative entrepreneurship in web series developmentSteinar Ellingsen and Stayci Taylor
Chapter 15Local content producers: Co-creating communal stories and community in the Big Stories, Small Towns participatory documentary projectMartin Potter
Part 3: Realising the screen work: practice, process, pragmatism
Chapter 16Creative Practice: A Love StoryPhoebe Hart
Chapter 17Creating and designing the contemporary soundtrack: A case studyDamian Candusso
Chapter 18The (braided) documentary voice: theorising the complexities of documentary making Willemien Sanders and Kate Nash
Chapter 19Editing the observed: Evaluation and value creation processes in the editing of a feature documentary filmAlastair Cole
Chapter 20The beginning of a beautiful relationship: A case study exploration of collaborative creative practiceShreepali Patel, Rob Toulson and Luis Azuaje
Chapter 21Make it in post: Digital visual effects and the temporality of creative value in post-productionTara Lomax
Chapter 22Trapped: A case study of international co-production Rosamund Davies
Chapter 23Production...