Thesis (M.A.)--Brigham Young University. Dept. of English, 2005. / Includes bibliographical references (p. 164).

This dissertation explores screenwriting as a writing genre. Accompanying the dissertation, in a separate binding, is my feature film screenplay, Jungles of Sandakan, a spec script, written with the speculation of selling for production. The screenplay represents an experience of writing. From the writer’s position, the dissertation articulates a feminine voice, reflective of the writer who experiences the writing of the feature film script, rather than being an exposé on gender, or feminist-specific issues regarding the experience. As such, it is one kind of research. Nonetheless, the research attempts to explore the complexities of writing in relation to the problems that exist in the film world that prevent, or annihilate, and yet enable and require, the very experience of writing. Screenplays are the lifeblood of the picture business, writes Paul Lazarus, in Working In Film; The Marketplace in the ‘90s. Lazarus, a film producer and observer of the American film industry, paints the script as the endemic life force of the film business. Without the script, it is implied, there is no film production. This gives an impression of privilege in relation to the script, and writing. In the grand scheme of things in the picture business though, this is not the case, as anxieties about the script often render writing inconsequential in the context of film production, thus reducing the script’s privilege and placing its significance in uncertain terrain, quite often to the point of oblivion. The writer is often voiceless, and often expected, or required, by the production hierarchy, to remain impartial to her work, or relinquish ownership of her work altogether. For an industry that seemingly depends initially on writing for its own existence, the anxieties displayed towards the script, even though it is merely the blueprint of a film production, as well as the writer, appear very problematic The fiction/drama screenplay, as a storytelling device, has fundamental significance pertaining to history, national identity, issues of gender, sexuality, race relations, social, cultural and political dynamics, views and representations of self and of other(s), ethnicity, religion, multiculturalism and so on, a plethora of issues that inform the writing, the script, as represented by characters, and story. / Doctor of Creative Arts

Thesis (DTech. degree in Drama) -- Tshwane University of technology, 2011. / The central theoretical statement of this study is that if one wishes to teach dramatic narrative structure, then an instructivist instrument such as an AVA would be useful, while one takes care of teaching the application of such a structure in a constructivist fashion. The purpose of the study was to design an effective teaching and learning (T&L) instrument (DVD AVA), justify the design through a literature study, and test the efficacy of the AVA through approved quantitative research methods. The research results showed a significant increase (12.6%) in the students construction of knowledge and a more skillful application of screenplay structure when they were trained by way of the AVA intervention as opposed to the traditional method.

M.Tech. Drama. Tshwane University of Technology / How does a writer write good dialogue? This is the basis of this study. The need for investigation of this question arose due to the lack of information currently available to assist a writer a with a good dialogue-writing approach. Upon review of various literature contributions and articles, it was evident that this subject is relatively explored. The focus of the reviewed sources was mainly on the 'supposed' form and not on the theoretical methodology on constructing dialogue. Enganging this problem a qualitative method was used whereby a literature study identified three aspects, namely, discourse analysis, power dynamics and Stanislavsky's notions on acting. The works of James P. Gee, James C. Scott and Stanislavsky were the main sources used in the respective fields. From their work and others, a series of strategies for development of effective dialogue was developed. Essentially, these strategies drew on the notion of "language in Action" and thus engaged dialogue for film as a series of interactive utterance exchanges. The findings lead to a proposed model which integrates the above mentioned aspects, which were tested and analyzed. This model can assist a writer in the process of constructing dialogue. The conclusion of this study is that the aspects of the created model effects dialogue. If one of the aspects should change, then the dialogue will also change. This ensures a consistent methodical approach to construct dialogue.

Thesis (M.F.A.)--York University, 2007. Graduate Programme in Fine Arts. / Includes: We'll always have Paris : a contextual essay on Sacrificial versions. Typescript. Includes bibliographical references. Includes filmography. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29581

Thesis (D.Lit.(Algemene Literatuurwetenskap))-Universiteit van Pretoria, 2007. / Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript.

Thesis (Ph.D.)--Murdoch University, 2008. / Thesis submitted to the Faculty of Arts and Education. Includes bibliographical references.

Thesis (M.A.)--University of Waikato, 2006. / Includes bibliographical references (leaves 177-179) Filmography (leaves 180-182) Also available via the World Wide Web.

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