SCREEN-L Archives

November 1994, Week 2


Options: Use Proportional Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Joanne Bernardi <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Tue, 8 Nov 1994 12:18:53 CST
text/plain (36 lines)
----------------------------Original message----------------------------
> On Sat, 5 Nov 1994 [log in to unmask] wrote:
> > literary form."  Been asking around the Swedish and English departments
> > here at the U of Karlstad if anyone has even heard of anyone anywhere using
> > a screenplay as a literary source in a non film/theatre studies classroom,
> > and I've yet to find an affirmative.
> There is a long tradition of publishing screenplays (even before the
> films were made if ever) in the Soviet Union. There was (is?) a special
> Russian journal devoted to it.
Japan also has a long tradition of publishing screenplays in various venues
--there is also a journal devoted to it, and scripts are included in the
"collected works" of writer/directors like Kurosawa and Ozu.  Also, there
are "collected works" for specific screenwriters, and anthologies (some
published annually), including at least one of amateur scripts that never made
it to production.  There is in fact a long tradition of publishing scripts
that never made/make it to production.  Mention of  the Norton Anthology
reminded me of the anthology of "fiction, film and other writing since 1945"
edited by Howard Hibbett, pub. by Knopf, 1977, called "Contemporary Japanese
Literature."  This book includes English translations of the "filmscripts" for
Kurosawa's "Ikiru" and Ozu's "Tokyo Story."  Tokyo Story seems to be an
accurate translation of the version of the screenplay included in Ozu's
"collected works," but the translation of Ikiru is different from the version
included in Kurosawa's "Collected works."  It has more of what was called here
"camera techo-babble," and some differences in wording of dialogue and
exposition that don't seem to be results of translation act alone.
This seems to happen alot--a confusion between published continuities (which
can be useful study guides in their own right but don't help much if you are
interested in the writer and the screenwriting process) and the final version
of the preproduction script.
Joanne Bernardi
U of Rochester, NY