<p>The art and science of crafting superior stories for feature film, television, and computer graphics productions, for both local and international purposes alike, are extremely important. In the artistic sense, this is a glimpse at the key elements in creating successful characters, stories, and environments. In the technical sense, it is a review on how to write a professional screenplay, as well as a comparison between different mediums, methods, and styles of writing. In order to conduct this research and accomplish said goals, material from a variable set of sources, including work by acclaimed authors, as well as professional screenplays and personal experience within the subject was used. The initial hypothesis that was put forth, proved in the end to become the overall result. Although being a field more inclined towards art than science, some of the answer and results came to fall within individual conclusions and opinions, rather than technical facts, as writing is different in style and nature to each and every screenwriter.</p>

The art and science of crafting superior stories for feature film, television, and computer graphics productions, for both local and international purposes alike, are extremely important. In the artistic sense, this is a glimpse at the key elements in creating successful characters, stories, and environments. In the technical sense, it is a review on how to write a professional screenplay, as well as a comparison between different mediums, methods, and styles of writing. In order to conduct this research and accomplish said goals, material from a variable set of sources, including work by acclaimed authors, as well as professional screenplays and personal experience within the subject was used. The initial hypothesis that was put forth, proved in the end to become the overall result. Although being a field more inclined towards art than science, some of the answer and results came to fall within individual conclusions and opinions, rather than technical facts, as writing is different in style and nature to each and every screenwriter.

My Perfect Little Doll tells the story of a fourteen year old girl, Jenny, who lives with her adopted parents and has a fascination with dolls. Her father is a troubled man who suffers from violent mood swings due to a work-related injury. He blames the world for his ailments. Jobless and home-stricken, Jenny's father is a frustrated individual who has built up anger and resentment over the years. Without proper medication, his problem becomes severe. His mood swings lead to abusive behavior toward shy Jenny, who constantly blames herself for her father's abusive ways. Through a flashback, we learn of the special relationship that Jenny has with Laura, a classmate. Laura feels a duty to help the powerless, which leads her into a friendship with Jenny. Eventually, Jenny invites Laura to her house to seek comfort during times of chaos. Upon arrival, Laura sees one of Jenny's father's violent mood swings and his ability to slip into abusive behavior. Eventually, Laura witnesses Jenny's father's physical abuse on Jenny and tries to convince her to leave. However, Jenny is torn between the love for her father who can be a loving, gentle man, and her own need for safety. This story weaves its tale with a mixture of pathos and hope. Based on a true story, this film draws from the multileveled emotions that the situation contains. The drama is framed in reality, where even the monsters have hearts. We learn that it is the victim as much as the perpetrator who denies the problem. But what will the victim do when offered a chance to escape...?

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Este trabalho relata aspectos do processo criativo da redação de um roteiro cinematográfico de longa metragem. Procurou-se investigar, durante o fazer do roteiro, o modo como a narrativa pode ser utilizada para despertar emoções e interesse no espectador. Através da revisão de obras de teóricos cognitivistas do cinema e de manuais de roteiro, levanta-se considerações sobre possíveis estratégias para se envolver emocionalmente o espectador. Para ilustrar estas estratégias, é apresentada uma análise da obra Aconteceu naquela Noite (1934). A partir destas considerações, realiza-se a descrição do processo de escrita do roteiro, procurando demonstrar de que forma as considerações teóricas influenciaram neste processo e no produto final, o roteiro completo. / This dissertation reports some aspects of the creative process on writing a feature movie script. During the screenwriting, it was attempted to investigate how the narrative can be used to elicit emotions and interest in the spectatorship. Through the review of Cognitivist Film Theory Scholars and Screenwriting Guides, considerations were raised on possible strategies to emotionally involve the viewer while telling the story. To elucidate these strategies, the analysis of the movie It happened one night (1934) follows. Having reached these considerations, the script is presented along with the trajectory of its writing.

Este trabalho relata aspectos do processo criativo da redação de um roteiro cinematográfico de longa metragem. Procurou-se investigar, durante o fazer do roteiro, o modo como a narrativa pode ser utilizada para despertar emoções e interesse no espectador. Através da revisão de obras de teóricos cognitivistas do cinema e de manuais de roteiro, levanta-se considerações sobre possíveis estratégias para se envolver emocionalmente o espectador. Para ilustrar estas estratégias, é apresentada uma análise da obra Aconteceu naquela Noite (1934). A partir destas considerações, realiza-se a descrição do processo de escrita do roteiro, procurando demonstrar de que forma as considerações teóricas influenciaram neste processo e no produto final, o roteiro completo. / This dissertation reports some aspects of the creative process on writing a feature movie script. During the screenwriting, it was attempted to investigate how the narrative can be used to elicit emotions and interest in the spectatorship. Through the review of Cognitivist Film Theory Scholars and Screenwriting Guides, considerations were raised on possible strategies to emotionally involve the viewer while telling the story. To elucidate these strategies, the analysis of the movie It happened one night (1934) follows. Having reached these considerations, the script is presented along with the trajectory of its writing.

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.

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.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.