000			02067cam a2200193 i 4500
020			_a9780240522463 (paper back)
040			_cCUS
082	0	0	_a808.23 _bDAN/A
100	1		_aDancyger, Ken and Rush, Jeff
245	1	0	_aAlternative scriptwriting : beyond the Hollywood formula / _cKen Dancyger and Jeff Rush
250			_a5th ed.
260			_aNew York: _bFocal Press, _c2013.
300			_axi, 466 p.; _c23 cm
504			_aIncludes index.
505			_aINTRODUCTION Chapter I Beyond the Rules STRUCTURE Chapter 2 Structure Chapter 3 Critique of Restorative Three-Act Form Chapter 4 Counter-Structure Chapter 5 More Thoughts on Three Acts: Fifteen Years Later Chapter 6 Narrative and Anti-Narrative: The Case of the Two Stevens Chapter 7 Multiple Threaded Long-Form Television Serial Scripts GENRE Chapter 8 Why Genre? Chapter 9 Working with Genre I and the Thriller Chapter 10 Working with Genre II: The Melodrama Chapter 11 Working Against Genre Chapter 12 The Flexibility of Genre Chapter 13 Genres of Voice Chapter 14 The Non-Linear Film Chapter 15 The Fable: A Case Study of Darkness: The Wizard of Oz and Pan’s Labyrinth CHARACTER Chapter 16 Reframing the Active/Passive Character Distinction Chapter 17 Stretching the Limits of Character Identification Chapter 18 Main and Secondary Characters Chapter 19 Subtext, Action, and Character Chapter 20 The Primacy of Character Over Action: The Non-American Screenplay FORM, TONE, AND THEORY Chapter 21 The Subtleties and Implications of Screenplay Form Chapter 22 Agency and the Other Chapter 23 Character, History, and Politics Chapter 24 Tone: The Inescapahility of Irony Chapter 25 Dramatic Voice/Narrative Voice Chapter 26 Digital Features Chapter 27 Writing the Narrative Voice Chapter 28 Rewriting Chapter 29 Adaptations from Contemporary Literature CONCLUSION Chapter 30 Personal Scriptwriting: The Edge Chapter 31 Personal Scriptwriting: Beyond the Edge
650		0	_aMotion picture authorship.
650		0	_aMotion picture plays _xTechnique.
942			_cL2C2
999			_c5433 _d5433