How Scripts are Made

Inga Karetnikova’s method is that of the art teacher: she asks students to study great works in detail, to analyze them, and then to create their own. She stresses that her examination is "interested only in how the scripts are written and what makes them work, not in a cultural or scholarly examination of them." Karetnikova analyzes eight screenplays?The Godfather, Rashomon, La Strada, Bicycle Thief, Nosferatu, The Servant, Viridiana, Notorious?and a novel written in screenplay form, Kiss of the Spider Woman. Each serves as an example of a particular aspect of screenplay writing: composing scripts, developing characters, constructing suspense, adapting literature to cinematic space and time, and weaving details and motifs within a script.Karetnikova urges film students to work on their own screenplays while studying her book, reading the suggested scripts and viewing the films based on them to get the most from her method. She provides a series of exercises for each chapter to help students master the skills of composing and writing film treatments, developing screen stories and their characters, organizing scenes, and writing dialogue. Each of the exercises has worked successfully in her own screenplay-writing classes.

Humor & Entertainment

Karetnikova, Inga

Movies

Southern Illinois University Press

Inga Karetnikova’ s method is that of the art teacher: she asks students to study great works in detail, to analyze them, and then to create their own. She stresses that her examination is "interested only in how the scripts are written and what makes them work, not in a cultural or scholarly examination of them." Karetnikova analyzes eight screenplays— The Godfather, Rashomon, La Strada, Bicycle Thief, Nosferatu, The Servant, Viridiana, Notorious— anda novel written in screenplay form, Kiss of the Spider Woman. Each serves as an example of a particular aspect of screenplay writing: composing scripts, developing characters, constructing suspense, adapting literature to cinematic space and time, and weaving details and motifs within a script. Karetnikova urges film students to work on their own screenplays while studying her book, reading the suggested scripts and viewing the films based on them to get the most from her method. She provides a series of exercises for each chapter to help students master the skills of composing and writing film treatments, developing screen stories and their characters, organizing scenes, and writing dialogue. Each of the exercises has worked successfully in her own screenplay-writing classes.

Mexico According to Eisenstein

Well researched and illustrated story of Russian film director, Sergei Eisenstein's time in Mexico and personal self discovery. Formerly unpublished drawings included. Great read for fans of the famous director or anyone interested in a good personal tale of experiences in Mexico.

Steinmetz, Leon

Univ of New Mexico Pr

This book is the chronicle of a twofold discovery: in 1931, Sergei Eisenstein discovered Mexico, and at the same time he discovered himself. Like D.H. Lawrence's, Eisenstein's rendering of Mexico becomes a self-portrait. Upon filming the scenes of his unfinished masterpiece "Que Viva Mexico", the Russian director discovered a buried aspect of himself: both the violence of erotic passion and a fascination in the face of death. (From the Publisher's notes on rear panel.)

Arts & Photography

Performing Arts

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Books by Karetnikova, Inga

See the best price to sell, buy, or rent books by Karetnikova, Inga. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

How Scripts are Made

How Scripts are Made

Mexico According to Eisenstein

Mexico According to Eisenstein