A History of the Screenplay by Steven Price (auth.)

By Steven Price (auth.)

The screenplay is presently the point of interest of in depth severe re-examination, even though, as but there was no finished learn of its old improvement. overseas in scope and putting emphasis at the improvement and diversity of screenplay texts themselves, this ebook could be a tremendous and leading edge addition to the present literature.

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Appearance of the Earth from the Moon. Scene 11. The Plain of Craters. Volcanic Eruption. Scene 12. The Dream (the Great Bear, Phoebus, the Twin Stars, Saturn). Scene 13. The Snow Storm. Scene 14. 40 Degrees Below Zero. Descending a Lunar Crater. Scene 15. In the Interior of the Moon. The Giant Mushroom Grotto. Scene 16. Encounter with the Selenites. Homeric Fight. Scene 17. Prisoners!! Scene 18. The Kingdom of the Moon. The Selenite Army. 30 A History of the Screenplay Scene 19. The Flight. Scene 20.

Porter. Here the stakes are even higher, because Porter has been credited not only as a pioneer of the American narrative film but also as an innovator in the field of intercutting. In The Rise of the American Film (1939), Lewis Jacobs printed what he took to be the scenario for Porter’s The Life of an American Fireman (1902). As he acknowledges, however, the text he reproduces is taken from the Edison Catalogue, and internal evidence alone indicates that it is not a scenario but a synopsis. Had it really been a scenario, it would have gone a long way towards resolving the crucial questions surrounding Porter’s editorial practice.

Roy P. McCardell, often credited as the first professional writer for films, began working for Biograph in 1898. As Tom Stempel notes, his stories must have been relatively simple, since the films of the period were not much longer than a minute or so. At their least structured, the 22 Prehistory of the Screenplay 23 films of 1898 were still just photographs of interesting movement of some kind. 2 No script from this period has survived, partly because at this date there was no need for anything possessing even the functions, let alone the form, of the modern screenplay.

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