The importance of knowledge transfer inside organizations is an undisputable fact, which got the attention of managers in recent decades. One of the most important reasons that make the knowledge transfer a compulsory task is the danger of its loss. Storytelling in any of its forms, including movie script writing, facilitates knowledge transfer by the use of its potency in representing different information’s component and interrelationships between them. But using movies and movie-scripts in organizations as a knowledge management tool is not as easy as it sounds. There are some issues that should be considered, otherwise the result will not be as good as expected or can even have negative effects on the audience. Based on a search that we have done, we noticed the lack of a comprehensive research which tackles these issues from both knowledge management and scriptwriting perspectives, and provides practical solutions for them. In this thesis we introduce a set of guidelines to inspire knowledge managers or screenwriters who are supposed to write a movie script for transferring knowledge inside organizations. These guidelines may facilitate this process by guiding them to foresee and prevent the issues and solve the problems which may occur.For achieving this goal, we first did a comprehensive literature review and developed a set of guidelines. Then we applied the resulted guidelines on a case. Finally, we evaluated them by utilizing method triangulation. We asked experts' opinions about the applicability and efficiency of the guidelines, tested the clarity and understandability of them, and tested the performance of a movie script which we wrote for the case. The result of the evaluations was pretty satisfying. The knowledge management and screenwriting experts gave us positive comments about efficiency of the guidelines. The managers, who we consulted, found this set of guidelines applicable in real situations. The clarity and understandability test returned an average of 75.58% positive results, which shows that the user of the set of guidelines can read and understand it easily. Finally the test of the movie-script, which we wrote for a real case according to the guidelines, resulted in an average of 85% correct answers. It shows that we were successful in transferring the knowledge, which was embedded in the movie-script, to the recipients. The experts’ opinion and test results indicate that these guidelines are clear, understandable, applicable, and may efficiently facilitate the process of screenwriting for transferring knowledge inside organizations. It can increase the benefits that organizations make from investing in film production by the purpose of transferring knowledge internally.

Thesis advisor: David Scanlon / Improving reading comprehension for middle school students with disabilities and others who struggle with reading, referred to here as striving readers, is challenging. Formal reading instruction typically shifts from skills acquisition to application in middle and high school, providing inadequate support in the skills for comprehension (Chall, 1983; Klingner et al., 2007). Further, both students with disabilities and striving readers can have negative school experiences which impact their reader identities and cause them to become disengaged from learning. It is increasingly challenging for secondary teachers to provide interventions which explicitly teach and reinforce critical comprehension skills while sustaining student engagement. An experimental screenplay intervention designed by the researcher to increase visualization and promote reading comprehension was used. The intervention was based on research by Snyder (2005) identifying elements of a screenplay, similar to story grammar. Movies were used first as a novel way to engage learners; visual supports were gradually reduced as students transferred visualizing skills to texts of increasing complexity. The readers used plot diagrams to organize the elements graphically in support of their comprehension. Seven middle school students with high incidence disabilities and striving readers learned to identify seven elements of a screenplay in a 3-week online researcher-developed intervention. A mixed-methods case study design was used to identify reading-related outcomes and students’ experiences (attitudes and behaviors) of reading as they learned the intervention. Data were collected for reading comprehension, recognition of screenplay elements, and visualization skills. Reading behaviors, attitudes, identities, and motivation for reading were also assessed. Findings revealed whole-class mean score gains in passage and sentence level comprehension, pre-to-post. Students also learned the screenplay elements and were proficient in finding examples within a text. Further, the students reported greater details at post-test when reporting their visualizations and when describing elements. Case studies of three students representing three reading proficiency levels upon entrance to the study revealed distinct experiences for each. Implications for reading instruction are discussed. / Thesis (PhD) — Boston College, 2021. / Submitted to: Boston College. Lynch School of Education. / Discipline: Teacher Education, Special Education, Curriculum and Instruction.

My master’s thesis consists of a screenplay adaptation of the Eighteenth Century novel The Excursion by Francis Brooke, as well as an Introduction that details the writing process of the main text. In order to prepare this manuscript, I began with a study of both Francis Brooke and her novel as part of Dr. Judith Slagle’s Eighteenth Century British Novel course and developed my work to completion through independent research on and application of my findings on the screenwriting genre. The concluding product is a three-act screenplay which maintains the original period setting, speech, and costuming while adding such contemporary elements as 20th century music. Such a combination of time periods enables the stillness of the page to become the action of the screen even as it highlights the universal themes of Brooke’s original text.

[pt] Esta pesquisa parte de um vestígio histórico: Caibi, palavra indígena com o qual foi batizada uma cidade de colonização italiana do extremo Oeste catarinense, região Sul do Brasil. Fundada a partir de uma colônia de descendentes de imigrantes europeus, na década de 1920, a história de fundação da cidade é contada no livro Caibi: Histórias e Memórias (2012) pelo ponto de vista dos chamados pioneiros, colonos ou pessoas de origem. Este último, modo pelo qual a população nativa de caboclos se referia aos novos ocupantes de suas terras. Interessado no lapso entre a narrativa oficial de fundação e os testemunhos do grupo que vivia anteriormente na região, descendente de indígenas, este trabalho faz um cruzamento entre as duas versões da história. Inicialmente, através de uma abordagem histórico-crítica sobre a narrativa local de fundação em que são utilizados estudos de revisão historiográfica, materiais de arquivos e entrevistas realizadas com os caboclos que vivem até hoje na cidade. Feita a releitura em torno da narrativa fundacional, outra parte do trabalho consiste na proposta de fundação de uma nova narrativa: um texto ficcional, no formato romance poético, que utiliza o material reunido para forjar uma nova origem para a cidade. A qual inclui caboclos e indígenas como personagens ao lado dos já conhecidos colonos. Além do caboclamento historiográfico realizado a partir do conceito de caboclo de Luiz Antônio Simas, estão presentes nesta discussão as noções de arquivo (Jacques Derrida e Michel Foucault), roteiro e performance (Diana Taylor), história e narrativa (Walter Benjamin). / [en] The starting point of this research is a historical trace: Caibi, an indigenous word that was given as the name of a city of Italian colonization in the far west of Santa Catarina. The city was officially founded in the 1920 s, from a colony of the descendants of european immigrants. It s founding history is described in the book: Caibi: Histories and Memories (2012) from the point of view of the socalled pioneers, settlers or people of origin. The latter - the expression used by the native population of caboclos to refer to the new occupants of their lands. Interested in the difference between the official foundation narrative and the testimonies of the group that originally lived in the region (descendants of indigenous people), this work compares these two versions of history. Firstly the research considers a historical-critical approach to the founding local narrative through the use of studies of historiographical review, archival materials and interviews with the caboclos who still live in the city. After looking back on the foundational narrative, another part of the work consists in the proposal to settle a new narrative: a fictional text, in the format of a poetic novel, which uses all the gathered material to create a new origin for the city - which includes caboclos and natives as characters alongside the already known settlers. In addition to the historiographical caboclamento realized from the concept of caboclo by Luiz Antônio Simas, the concepts of archive (Jacques Derrida and Michel Foucault), script and performance (Diana Taylor), history and narrative (Walter Benjamin) are also present in this discussion.

The Tailor’s Apprentice is a feature-length, micro-budget, narrative digital motion picture, written, produced and directed by Jeffrey Lehman in partial fulfillment of the requirements of earning a Master of Fine Arts in Film from the University of Central Florida. The film is a result of applying specific monetary, logistical and creative limitations to the production process in order to contribute in defining the micro-budget aesthetic, resulting in a final shared cinematic audience experience. This thesis is a record of all stages from conception to completion of the executed, feature length film with-in the micro-budget production paradigm.

Many of the shifts in our identity are as surprising as they are inevitable. As with our bodies and our minds, it’s easy to forget that our identities are in a constant state of change — that is, until a situation forces us to face ourselves and examine who we’ve become. For adolescents, college students included, reckonings with their sense of self come frequently; they feel seismic each time they occur. My thesis will be a short screenplay in which the central character is recovering from severe executive dysfunction, the impairment of basic skills that include working memory, mental flexibility, and inhibitory control. She will confront the question at the heart of the Ship of Theseus: have I changed enough that I am now an entirely different person than I used to be? And if so, what now? As part of the story development process, I viewed films that told compelling stories about the impact physical changes can have one one's identity. I intend for my screenplay to explore the ability of a change in mental health to do the same.

This paper outlines the artistic research process I followed as I made a short fiction film. It defines the stages that I’ve undertaken as I tried to learn more about filmmaking during my master’s studies in Film and Media at Stockholm University of the Arts. How to write a screenplay? How to dramatize a personal experience? What making a movie entails? How to write a moving story and the impact of storytelling on human beings. Here I share my learning about – and I try to investigate the interplay between – craftmanship, art, theory, conception, industry, and the neuroscience of storytelling. / Filmmaking

Desperate to post bail after the love of his life is seized by ICE, an undocumented dishwasher descends into the underbelly of California’s Central Valley and a bloody bidding war for the severed head of a man everyone is looking for.

Tokyo, 2083. When a loner detective is hired by an injured amnesiac to recover her identity, he’s forced to dive into his own haunted past.

An arrogant, but brilliant pediatric psychiatrist accidentally exorcises a demon from a young girl during an experimental procedure – only to discover she wants her demon back.