Através da discussão do modelo para análise da estrutura dramática do cinema clássico proposto por Kristin Thompson e David Bordwell em contraposição não somente aos ditamos correntes na maioria dos manuais de roteiro norte-americanos, mas também a uma posição preconizada por autores que procuram analisar o cinema com modelos mais próximos à dramática, o estudo de dois filmes, Cidade de Deus e Central do Brasil, serve de subsídio para a composição de um roteiro cinematográfico intitulado Cléo e Damião. / Through the discussion of the model for analysis of dramatic structure in classical cinema proposed by Kristin Thompson and David Bordwell contrasted with current terms in screenwriting manuals and other works which try to bring the analysis of film closer to drama, the study of two films, City of God and Central Station serves as subsidy for the creation of an original screenplay entitled Cléo and Damião.

Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a reversal of conventionality. The intention with the accompanying essay is to sustain a progressive interweaving of reflective commentary and analytical vignettes. There is also an intended symmetry here - an 'excessive' essay (long, without conventional subheadings, breaks, etc.) will sit alongside the 'excessive' screenplay as its twin of sorts, a different style of invention. The essay is to speech what the screenplay is to sex.

This screenplay is a fictional Coming of Age story of a young restless woman who, on an existentialist search for her inner self, investigates into the truth behind her famous grandmother's past, an anthropologist who conducted controversial research in the Samoa of the 1920s. In the turbulent streams of her consciousness, Kat drifts in between an urban reality in Berlin, daydreams about her grandmother's journey into the exotic unknown, fantasies about the enigmatic young Samoan single mom Penei, and memories of a once loving family. The encounter with Penei and the resulting friendship and frail romance of the two women proves to be an eye-opener for Kat who finally discovers that the objective truth proves to be the ultimate myth and that only the acknowledgement of her own, subjective vision will lead her on the path to her inner happiness. Although the character of Anna König is inspired by the historic figure of anthropologist Margaret Mead, the script has no intent to refer to actual facts of Mead's life. All the characters depicted are entirely fictional.

The Sandman is a feature-length screenplay adaptation of E. T. A. Hoffmann’s short story "Der Sandmann." The screenplay re-imagines the story as a contemporary horror film with surrealist underpinnings. The script draws heavily on the gothic tradition. It also draws on the German Romantic tradition out of which Hoffmann writes. The theoretical structure of the screenplay owes a great deal to Sigmund Freud’s ideas about the "uncanny" and concerning the Oedipus complex, the repetition-compulsion, and the death-drive. I do not hold slavishly to these theories so much as use them as points of departure. The story: the young Nathan discovers one day that the Sandman is not a fairytale but a very real creature seemingly bent on his destruction. After abusing Nathan and causing the death of his Father, the Sandman disappears, only to return as Nathan moves away from home to begin his studies at university. Nathan, already haunted by the events of his childhood, spirals further and further into madness. The screenplay is followed by two informal essays concerning the approach taken to the construction of the text. / May 2005

Controlling the robots through a robotic platform has recently been used widely; however, it is necessary to make the platform friendlier in use to bring this product deeply into the family. The screenplay based performance platform (SBPP) of robotic puppet shows proposed in this thesis is a robotic platform composed with cloud computing, User Interface (UI) and Screenplay Interpreter(SI). The users can connect to the UI to edit and setup the screenplay ubiquitously through any device which can link to the internet. Through screenplay interpreter, the robot can perform as the designed screenplay after the setup; that is, one can always designate a different robot to execute during the process of editing, and the actions of these robots will be a message communication with preset meaning. The project of SBPP is divided into two modules: the UI and SI for multi-morphic robots. The work of this thesis takes charge mainly of screenplay interpreter for a variety of robot models and interfacing between NAO(pronounced now) which is a humanoid robot and the screenplay interpreter. And we integrate UI and SI. The integration of the work provides users a friendly UI to edit scenario of NAO and DARwIn-OP such the robot, NAO and DARwIn-OP(Dynamic Anthropomorphic Robot with Intelligence - Open Platform), can play in a scenario as the screenplay describing. The system is demonstrated by a play of ¡§do-as-I-do¡¨ and recorded in a video at YouTube, http://www.youtube.com/watch?v=v8ErTOgAQSo.

This thesis consists of two feature-length screenplays, the drama Texas Bright, and the comedic drama The Summer of Breaking Into Public Pools, as well as "Funny Face," a spec script for the ABC medical drama, Grey's Anatomy. / text

The Sandman is a feature-length screenplay adaptation of E. T. A. Hoffmann’s short story "Der Sandmann." The screenplay re-imagines the story as a contemporary horror film with surrealist underpinnings. The script draws heavily on the gothic tradition. It also draws on the German Romantic tradition out of which Hoffmann writes. The theoretical structure of the screenplay owes a great deal to Sigmund Freud’s ideas about the "uncanny" and concerning the Oedipus complex, the repetition-compulsion, and the death-drive. I do not hold slavishly to these theories so much as use them as points of departure. The story: the young Nathan discovers one day that the Sandman is not a fairytale but a very real creature seemingly bent on his destruction. After abusing Nathan and causing the death of his Father, the Sandman disappears, only to return as Nathan moves away from home to begin his studies at university. Nathan, already haunted by the events of his childhood, spirals further and further into madness. The screenplay is followed by two informal essays concerning the approach taken to the construction of the text.

The Sandman is a feature-length screenplay adaptation of E. T. A. Hoffmann’s short story "Der Sandmann." The screenplay re-imagines the story as a contemporary horror film with surrealist underpinnings. The script draws heavily on the gothic tradition. It also draws on the German Romantic tradition out of which Hoffmann writes. The theoretical structure of the screenplay owes a great deal to Sigmund Freud’s ideas about the "uncanny" and concerning the Oedipus complex, the repetition-compulsion, and the death-drive. I do not hold slavishly to these theories so much as use them as points of departure. The story: the young Nathan discovers one day that the Sandman is not a fairytale but a very real creature seemingly bent on his destruction. After abusing Nathan and causing the death of his Father, the Sandman disappears, only to return as Nathan moves away from home to begin his studies at university. Nathan, already haunted by the events of his childhood, spirals further and further into madness. The screenplay is followed by two informal essays concerning the approach taken to the construction of the text.

Pornography and Christianity are multifaceted, complex institutions that resist generalisation. In today's postmodern society, they are also mediated commodities that compete within the mediasphere. They are both dependant on the mass media, and communication technologies such as the internet for their survival. The binarised nature of these two institutions has led to a significant amount of 'productive othering', whereby both institutions have sought to define themselves in relation to their 'other', thus creating a space in society for their opposing force. In a sense, Christianity and pornography rely on each other in order to contextualise, and provide an opportunity to restate their own ideological position. This mutual need, suggests that the contemporary nature of their relationship is symbiotic. The relationship between pornography and Christianity can be observed in various sites within the mediasphere, such as the internet, and the film industry. These two sites provide varying accounts of their relationship, and evidence of productive othering, while also demonstrating the paradoxical affect the postmodern mediasphere is having on these two institutions -- that they are also becoming increasingly hybridised, intertextual, and difficult to distinguish from one another.

&quotNot Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called &quotNot Welcome": Writing Horror in Australia. The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the &quottruth" is often murky and far from clear-cut. The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.