ebook img

A History of the Screenplay PDF

286 Pages·2013·1.319 MB·English
Save to my drive
Quick download
Download
Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.

Preview A History of the Screenplay

A History of the Screenplay This page intentionally left blank A History of the Screenplay Steven Price SchoolofEnglish,BangorUniversity,UK Palgrave macmillan ©StevenPrice2013 Softcoverreprintofthehardcover1stedition2013978-0-230-29180-5 Allrightsreserved.Noreproduction,copyortransmissionofthis publicationmaybemadewithoutwrittenpermission. Noportionofthispublicationmaybereproduced,copiedortransmitted savewithwrittenpermissionorinaccordancewiththeprovisionsofthe Copyright,DesignsandPatentsAct1988,orunderthetermsofanylicence permittinglimitedcopyingissuedbytheCopyrightLicensingAgency, SaffronHouse,6–10KirbyStreet,LondonEC1N8TS. Anypersonwhodoesanyunauthorizedactinrelationtothispublication maybeliabletocriminalprosecutionandcivilclaimsfordamages. Theauthorhasassertedhisrighttobeidentifiedastheauthorofthiswork inaccordancewiththeCopyright,DesignsandPatentsAct1988. Firstpublished2013by PALGRAVEMACMILLAN PalgraveMacmillanintheUKisanimprintofMacmillanPublishersLimited, registeredinEngland,companynumber785998,ofHoundmills,Basingstoke, HampshireRG216XS. PalgraveMacmillanintheUSisadivisionofStMartin’sPressLLC, 175FifthAvenue,NewYork,NY10010. PalgraveMacmillanistheglobalacademicimprintoftheabovecompanies andhascompaniesandrepresentativesthroughouttheworld. Palgrave®andMacmillan®areregisteredtrademarksintheUnitedStates, theUnitedKingdom,Europeandothercountries. ISBN978-0-230-29181-2 ISBN978-1-137-31570-0(eBook) DOI 10.1057/9781137315700 Thisbookisprintedonpapersuitableforrecyclingandmadefromfully managedandsustainedforestsources.Logging,pulpingandmanufacturing processesareexpectedtoconformtotheenvironmentalregulationsofthe countryoforigin. AcataloguerecordforthisbookisavailablefromtheBritishLibrary. AcatalogrecordforthisbookisavailablefromtheLibraryofCongress. Contents Acknowledgements vi Introduction 1 1 PrehistoryoftheScreenplay 22 2 CopyrightLaw,TheatreandEarlyFilmWriting 36 3 OutlinesandScenarios,1904–17 52 4 TheContinuityScript,1912–29 76 5 TheSilentFilmScriptinEurope 99 6 TheComingofSound 120 7 TheHollywoodSoundScreenplayto1948 140 8 EuropeanScreenwriting,1948–60 163 9 Master-SceneScreenplaysandthe‘NewHollywood’ 182 10 TheContemporaryScreenplayandScreenwritingManual 200 11 ScreenwritingTodayandTomorrow 220 Conclusion:TheScreenplayasaModularText 235 Notes 239 Bibliography 260 Index 271 v Acknowledgements I am indebted to the British Academy for an award under their Small ResearchGrantscheme,whichincombinationwithBangorUniversity’s sabbatical arrangements enabled me to conduct some of the primary research and to write up the results. The book has its origins in a few chapters originally proposed as part of a project that became The Screenplay: Authorship, Theory and Criticism (Palgrave Macmillan, 2010). I am grateful to the anonymous readers of that proposal for recognis- ingthatthematerialwouldbebetterorganisedastwoseparateprojects; to Christabel Scaife, who acted as editor on the first of them; and to Felicity Plester, whose infectious enthusiasm and commitment to this areaofresearchhasbeenacontinuingsourceofencouragement.Ithas latterly fallen to Chris Penfold actually to drag the thing out of me; many thanks to both Felicity and Chris, and to Cherline Daniel, for theirextremepatienceandunfailingcourtesy. The biggest change in the field since I completed the first of the projects has been in the flowering of the Screenwriting Research Net- work (SRN). While conducting research for that book I was under the impressionthatIwasalmostaloneinwritingaboutthisarea;itturnsout that several other people were independently working on screenplays, all of us under the same misconception. It has taken the growth of the SRN to put these people in touch with one another. For that and muchmore,I,likemanyothers,amindebtedtothetirelesseffortsofIan Macdonald and Kirsi Rinne, and to those who have been instrumental in organising the annual conferences I have been fortunate enough to attend:KirsiatHelsinkiin2009,EvaNovrupRedvallatCopenhagenin 2010,RonaldGeertsandHugoVercauterenatBrusselsin2011andJ.J. Murphy and Kelley Conway at Madison in 2013. Two further, related developments have been the founding of the Journal of Screenwriting, undertheeditorshipofJillNelmes,andtheestablishmentoftheLondon ScreenwritingResearchSeminar,co-ordinatedbyAdamGanz. Through these means I have encountered so many people whose comments, advice and scholarship have been helpful that I could not possibly name them all, but I must give warm thanks to Steven Maras, J. J. Murphy and Paul Wells, while Margot Nash saved me from a howler I was certain I hadn’t committed, but had. David Bordwell, Ian vi Acknowledgements vii Macdonald, Jill Nelmes and Claus Tieber all generously gave me access tosomeoftheirresearchfindings.OutsidetheconferencecircuitIhave beengratefulforthediscussions,face-to-faceandbyemail,withJoanne Lammers, Patrick Loughney, Tom Stempel and Selina Ukwuoma. What hasemergedisakindofloose-knitresearchcommunityinwhichthereis nopartyline,peoplefromaremarkablydiverserangeofspecialismsare welcomed, and while disagreements may sometimes be pointed, they arealwaysgood-humoured,generousandfreeoftheaggressivepursuit ofself-interest.Whoknew? What has not changed is the unfailing helpfulness and meticulous scholarship of the staff at the many different libraries whose archives Ihaveexplored.ImustespeciallythankBarbaraHallandJennyRomero attheMargaretHerrickLibrary,AcademyofMotionPictureArtsandSci- ences,LosAngeles;KarenPedersenandJoanneLammersattheWriters GuildFoundationLibrary,LosAngeles;PatrickLoughneyattheLibrary ofCongress,Washington,D.C.;andJonnyDaviesattheReubenLibrary, British Film Institute, London. On a much earlier visit to the United States I benefited greatly from the assistance of Ned Comstock at the Doheny Library of the University of Southern California, and Charles SilverattheMuseumofModernArtinNewYork. Closertohome,Ilearnedagreatdealfrommydoctoralstudents,Ann Igelström and Chris Pallant, and Chris’s post-doctoral work continues to interact productively with my own interests. Julia Knaus’s intern- ship at Bangor University in 2013 has been a godsend, and Michelle Harrison has uncomplainingly tidied up several loose ends left behind whenIembarkedonaperiodofresearchleave.IamgratefultoDomini Stallingsforthecoverillustration,andtoRussellHallforassistancewith thefinaldesign;mythankstoDominimoregenerally,andtoJoeyand Abigail,arebeyondwords. SomeofthematerialinChapter1considerablyexpandsonarguments I previously presented in ‘The First Screenplays? American Mutoscope and Biograph Scenarios Revisited’, Journal of Screenwriting 2.2 (2011); conversely,thesectionontheAM&BscenariosinChapter2isconsider- ablycondensedfromthesamearticle. Introduction Among the ‘Thirteen Film Scores’ that Yoko Ono created in 1968 is ‘FilmNo.4’,entitled‘Bottoms’.Hereistheremainderofthetext:‘String bottomstogetherinplaceofsignaturesforpetitionforpeace.’1 Isthisascreenplay?Fromoneperspectivethequestionisquitepoint- less:thetextfulfilswhateverfunctionOnointendedittohave,whether that be for herself or for anyone else to develop into a film; it is, per- haps,apieceofconceptualart,oranopeninvitation,likeher‘SixFilm Scripts’of1964,which‘wereprintedandmadeavailabletowhoeverwas interestedatthetimeorthereafterinmakingtheirownversionsofthe films,sincethesefilms,bytheirnature,becamearealityonlywhenthey wererepeatedandrealisedbyotherfilm-makers’.2 The question does matter, however, if we are interested in the his- tory of the screenplay, because the Ono texts show that quite literally anything could, in theory, function as a scenario. The word ‘sce- nario’, which is one of the terms used before the coinage of our word ‘screenplay’(andallsuchtermsareproblematic),capturesverywellthe senseofapre-productionideaforafilm;andunlessthisideaisposited within an industrial context, or at least one that requires a division of labour, that idea can be retained in any textual form whatsoever, or indeed just in the film-maker’s head. In the earliest days of cinema many,perhapsmost,filmswouldhavebeenmadewithoutwrittenplan- ning, while digital technology today means that distinctions between writing,shootingandpost-productionstagesarebecomingincreasingly unclear. Arguably, both print culture and industrial-scale film-making, both of which would seem to be necessary for screenplays to exist, are in terminal decline, and today this opens up possibilities for radically newideasofwhatascreenplaycouldbe. 1 2 AHistoryoftheScreenplay Conversely,today’spublishedscreenplaysandscreenwritingmanuals poseadifferentproblem:seenintheirlight,ahistoryofthescreenplay would not be a piecemeal catalogue of innumerable different kinds of material, but instead would be quite brain-numbingly repetitive. The form appears remarkably consistent, even in terms of length, with the typicalscriptbeingaround120pageslong,withthoseforcertaingenres suchaslightcomedyand,inparticular,children’sfilmsbeingsomewhat shorter—perhaps 85 to 90 pages. This is usually held to result from a rule of thumb whereby one page equals one minute of screen time, a convention that itself derives from industrial requirements: the length ofthescriptenablesaninitialestimatetobemadeofthelengthofthe proposed film. For similar reasons, the contemporary screenplay has a striking regularity of format in such matters as scene headings (‘slug lines’)andthelineationofthedifferentelementsofthetext,including thepresentationofdialogueandprosedescriptionsoftheaction. Onthesecounts,‘Bottoms’isout,andwemightsuggestthattheterms Ono uses—‘score’ and ‘script’—are quite precise and apposite. Digging a little deeper, we might discover that the word ‘screenplay’ does not appear as a compound noun until the 1930s, a decade that also saw the now familiar screenplay format emerging, in embryonic form at least, following the introduction of sound. Yet neither the word nor the form materialised out of thin air. The two-word term ‘screen play’ has a longer history, stretching back at least to 1916, when it referred tothefilmratherthanthescript,forwhichotherterms—‘scenario’and thejust-emerging‘continuity’—wereinuse.3Inturn,thesehadreplaced the rough outlines of action that formed the only written planning of many films prior to the introduction of the industrialised Hollywood studiosystemin1913.Ono’stextisnota‘screenplay’,butithasmuch incommonwiththeseearliestformsofscreenwritinginfunctioningas asimplepromptorinvitationtothefilm-maker. A history of the screenplay, then, needs to explore several intercon- nected texts and practices. It should be attentive to the relationship between the written documents and their functions, distinguishing betweenscreenplaysandscreenwriting,thelatterofwhichmayencom- pass both the composition of the texts themselves and other kinds of cinematic ‘writing’ such as filming or editing. It also needs to exam- ine the historical development of the screenplay as a particular kind of script, its emergence from other kinds of cinematic pre-text such as the scenario and the continuity, and the often confused relation- ships between these various kinds of text and the terminologies used todefinethem.

See more

The list of books you might like

Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.