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.

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.

A man volunteers at a suicide hotline and becomes sexually aroused when he tells female callers to kill themselves.

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The aim of this thesis is to investigate how the female characters of the Swedish novel The Serious Game (Den allvarsamma leken) by Hjalmar Söderberg (1912) are represented in the film adaptation from 2016, a film adaptation by Pernilla August (director). The thesis also asks what the adapted screenplay by Lone Scherfig can reveal about how the novel’s characters are transformed through the adaptation process. The study has two main purposes: (1) to investigate the film adaptation as a process by considering the adapted screenplay as an interstitial and at the same time autonomous work bridging the novel and the final film, and (2) to investigate how the specific form and structure of the screenplay, as well as contextual and industrial aspects are of some significance for the representation of the female characters in the final film. The analysis of the female characters’ transformation through the adaptation process uses a combination of screenwriting theory and adaptation theory in order to explore the relationship between the novel, the adapted screenplay and the final film. One of the main conclusions of the study is that the male characters of the novel are transformed into being oppressive towards the female characters in more direct manners. As a result, the female characters liberation is somewhat transformed into a liberation from individual men rather than from vast structural, political or legal oppressions. It also shows that this representation of the novels characters gradually transforms according to this tendency in the adaptation process. The study also shows how the screenplay can be seen as a textual context in film adaptation.   Full English title: “In, I long to get in. The women’s journey through the adaptation process of The Serious Game 2016” / Det finns många studier som undersöker filmadaptioner, det vill säga när till exempel en roman blir till film. Traditionellt sett undersöks då framför allt relationen mellan den färdiga filmen och dess ursprungliga förlaga, romanen. Den här uppsatsen utforskar istället filmadaption som en process, och det genom att se till en mellanliggande text som ofta har förbisetts inom adaptionsstudier, filmmanuset. I min analys vill jag, till skillnad från i många tidigare adaptionsanalyser som behandlar filmmanus, se filmmanuset som en ”färdig” eller åtminstone självständig text som kan analyseras i relation till en förlaga eller film utan att på samma gång upp- eller nervärdera dess betydelse eller status som ett eget verk. I syfte att belysa filmmanus som ett relevant studieobjekt inom adaptionsstudier analyseras den danska manusförfattaren Lone Scherfigs filmmanus Den allvarsamma leken i relation till förlagan, Hjalmar Söderbergs roman från 1912, och filmadaptionen från 2016, i regi av Pernilla August. Syftet är också att utifrån filmskaparnas uttalade ambition att lyfta fram romanens kvinnor, undersöka hur detta har gjorts, och det genom att analysera de kvinnliga rollfigurernas ”resa” genom adaptionsprocessen. Inspirerad av diskussioner inom den aktuella adaptionsforskningen, där nya teoretiska ingångar och analysmetoder uppmuntras, prövar jag en kombination och tillämpning av adaptions- och manusteori. Detta med målet att kunna behandla filmmanuset som ett betydelsefullt och mellanliggande steg i en adaptionsprocess, och samtidigt som en egen självständig text – filmmanuset som en adaption av romanen, och filmen som en adaption av filmmanuset. Analysen visar att framställningen av Den allvarsamma lekens rollfigurer har genomgått en successiv omformning under adaptionsprocessen – först i överföringen från roman till filmmanus, och därefter från filmmanus till film. Dessutom visar det sig att rollfigurernas successiva omformning har skett enlig en tendens liknande den som adaptionsforskaren Liora Brosh tidigare uppmärksammat i filmadaptioner av viktoriansk litteratur, som till exempel Svindlande Höjder och Jane Eyre. Brosh ser hur det förtryck som den viktorianska litteraturens kvinnor utsätts för har omformats i filmadaptionerna, bland annat genom att romanernas manliga karaktärer framställts som mer ondsinta eller våldsamma än i romanerna. Uppsatsen uppmärksammar också att filmmanus kan ses som ett slags textuell kontext inom filmadaption eftersom den västerländska filmens berättarstruktur enligt flera film- och filmmanusforskare till stor del formats av de strikta berättartekniska konventioner som förmedlats via otaliga filmmanushandböcker under de senaste hundra åren.

Trapped in the Body of a Cheerleader is a feature-length comedic screenplay using juvenile witticisms and black-comedy to tell the story of a teenaged girl accepting her own identity. The introduction, a personal essay, offers the author's personal views towards screen writing, teen-oriented films, and contemporary screen comedy.

In 2006, Steven Oakley, an eighteen-year-old high school senior from Pennsylvania, is bribed by his father to go on a volunteer trip to hurricane-ravaged New Orleans, Louisiana. During his time, he meets a broken family whose experiences change Steven’s perspective on his own privileged life.

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