By Steven Price (auth.)
The screenplay is at the moment the point of interest of intensive severe second look, even though, as but there was no complete research of its historic improvement. overseas in scope and putting emphasis at the improvement and diversity of screenplay texts themselves, this ebook may be a big and leading edge addition to the present literature.
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The temptation to describe such texts 26 A History of the Screenplay as scenarios or screenplays, however tentatively, is a logical error that, repeated sufﬁciently often, has led to a distorted view of screenwriting activity in the period. 19 If so, the written plans for these circus acts provide some of the earliest examples of what might be termed ‘the accidental scenario’. Such texts are surprisingly prominent in the standard histories of screenwriting. In August 1896, the former Edison associate W.
Perhaps surprisingly, the Photographic classiﬁcation proved unproblematic: the Copyright Ofﬁce was willing to register the sequence of images AM&B deposited in the form of a paper print of the ﬁlm of The Suburbanite as a single ‘Photograph’. However, on 1 December 1904 Thorvald Solberg, acting for the Copyright Ofﬁce, queried the separate attempt to register The Suburbanite as a ‘dramatic composition’ in the form of a written text. The document Biograph submitted in this case was simply a copy of AM&B’s entry for the ﬁlm in their Bulletin, which was an advertising vehicle containing descriptions of the company’s new releases.
External evidence for this claim is inconclusive. 32 A cameraman recalled that Méliès ‘had the instinct of how to put together a script. We could never ﬁgure out what kind of ﬁlm we were going to make. 33 It seems certain, as Elizabeth Ezra argues, that ‘most of Méliès’s early ﬁlms did not even use scripts’, although she holds that he did indeed write some,34 and Méliès himself stated that he did, at least on occasion, prepare written scenarios, although he considered that the scenario as it was written had no importance, since my only purpose was to use it as a pretext for staging, for illusion, or for scenes with a pleasant effect.
A History of the Screenplay by Steven Price (auth.)