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Steven Maras e il ‘discourse frame’. Un approccio dinamico alla teoria della sceneggiatura - Steven Maras and the 'discourse frame'. A dinamic approach to screenwriting theory

digital Steven Maras e il ‘discourse frame’. Un approccio dinamico alla teoria della sceneggiatura - Steven Maras and the 'discourse frame'. A dinamic approach to screenwriting theory
Articolo
rivista COMUNICAZIONI SOCIALI
fascicolo COMUNICAZIONI SOCIALI - 2014 - 3. (En)gendered creativity. Actors Agencies Artifacts
titolo Steven Maras e il ‘discourse frame’. Un approccio dinamico alla teoria della sceneggiatura - Steven Maras and the 'discourse frame'. A dinamic approach to screenwriting theory
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 2014
issn 03928667 (stampa) | 18277969 (digitale)
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In the wake of a recent essay on the theory of screenwriting (S. Maras, Screenwriting. History, Theory and Practice. London-New York: Wallflower Press, 2009), questions concerning the debate on the nature, the regulations and the goals of “Screenwriting” and the dialogue between narratology and other fields of Film Studies are encouraged thanks to the import of Frame Analysis approach from social sciences. Steven Maras’ proposal, which we have adopted here, is to define the debate set in motion by the discourse on the screenplay as peculiar to the screenplay itself, and therefore, to identify a frame where to include all theoretical contributions participating to this debate, although of a different nature and origin. Adopting this approach and defining the discourse frame does not solve the problem on the nature of the screenplay but it allows to take up the subject from a new perspective reflecting and including what analyses from what other approaches decreed on the subject. Moreover it allows a great freedom in combining different subjects to analyze and define objects such as the screenplay of an audio-visual product, which nature is elusive and problematic, dignifying, for instance, an often underestimated branch of narratology applied to arts such as manuals (a discipline of great historical interest and a full-blown container of cinema theories). The usefulness of this theoretical frame can be verified in the investigations that do not just analyze texts but try to focus on the blurred landscapes existing between them, and it’s ideal to host debates on “authorship” and on the concept of “creative process”. For instance it becomes relevant in adaptation theories and every time there is an ongoing negotiation between cinema and other media.

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Anno: 2018 - n. 1

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