Me and You and Memento and Fargo

By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. Me and You and Memento and Fargo also presents a unique vision for the aspiring screenwriter.

Me and You and Memento and Fargo

Me and You and Memento and Fargo

Within the last twenty-five years, an enormous burst of creative production has emerged from independent filmmakers. From Stranger than Paradise (1984) and Slacker (1991) to Gus Van Sant's Elephant (2003) and Miranda July's Me and You and Everyone We Know (2005), indie cinema has become part of mainstream culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities that set them off from ordinary Hollywood entertainment? In this groundbreaking new study, J.J. Murphy argues that the independent feature film from the 1980s to the present has developed a distinct approach of its own, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for their idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. Me and You and Memento and Fargo also presents a unique vision for the aspiring screenwriter. Most screenwriting manuals and guidebooks on the market rely on formulas believed to generate saleable Hollywood films. Many writers present a "three-act paradigm" as gospel and proceed to lay down very stringent rules for characterization, plotting, timing of climaxes, and so on, while others who appear to be more open about such rules turn out to be just as inflexible in their advice. Through in-depth critical analyses of some of the most significant independent films of recent years, J.J. Murphy emphasizes the crucial role that novelty can play in the screenwriting process.

More Books:

Me and You and Memento and Fargo
Language: en
Pages: 290
Authors: J.J. Murphy
Categories: Performing Arts
Type: BOOK - Published: 2007-03-15 - Publisher: Continuum International Publishing Group

Within the last twenty-five years, an enormous burst of creative production has emerged from independent filmmakers. From Stranger than Paradise (1984) and Slacker (1991) to Gus Van Sant's Elephant (2003) and Miranda July's Me and You and Everyone We Know (2005), indie cinema has become part of mainstream culture. But
Horrific Humor and the Moment of Droll Grimness in Cinema
Language: en
Pages: 198
Authors: John A. Dowell, Cynthia J. Miller
Categories: Social Science
Type: BOOK - Published: 2017-12-06 - Publisher: Lexington Books

Horrific Humor and the Moment of Droll Grimness in Cinema explores the moment in audience reception where screams and laughter collide. Essays examinine the aesthetics and mechanics of the sLaughter moment, the impact of its frission of humor and horror on the viewer, and sLaughter’s implications for the human condition
Being There and the Evolution of a Screenplay
Language: en
Pages: 488
Authors: Aaron Hunter
Categories: Performing Arts
Type: BOOK - Published: 2021-01-28 - Publisher: Bloomsbury Publishing USA

Being There and the Evolution of a Screenplay provides an insightful look at the drafting of one of Hollywood history's greatest scripts. Being There (1979) is generally considered the final film in Hal Ashby's triumphant 1970s career, which included the likes of Harold and Maude (1971) and Shampoo (1975). The
Rewriting Indie Cinema
Language: en
Pages: 337
Authors: J. J. Murphy
Categories: Performing Arts
Type: BOOK - Published: 2019-04-16 - Publisher: Columbia University Press

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from
Screenwriting Poetics and the Screen Idea
Language: en
Pages: 271
Authors: I. MacDonald, Ian W. Macdonald
Categories: Performing Arts
Type: BOOK - Published: 2013-10-30 - Publisher: Springer

A new, original investigation into how screenwriting works; the practices, creative 'poetics' and texts that serve the screen idea. Using a range of film, media and creative theories, it includes new case studies on the successful ITV soap Emmerdale, Hitchcock's first major screenwriter and David Lean's unfinished film, Nostromo.

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