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Storytelling in Film and Television

Kristin Thompson

Cambridge, Mass.: Harvard University Press (2003), xiii, 172 pp.

"Popular films and television series tell stories in an entertaining, easily comprehensible fashion. They seem simple, yet often the audience must keep track of several characters, multiple plot lines, motifs, and thematic meanings. Television viewers often face the additional challenge of frequent ... interruptions—for commercials, for week-long gaps between episodes, and even for stretches of time between seasons. Yet they manage, remarkably, to keep track of not only a single long-running narrative, but often several simultaneously. How do film and television writers juggle the need for graspable, enjoyable stories with the many restrictions imposed by their respective commercial formats? How do those two art forms differ in the ways they tell stories? [...] Because television programs typically face far greater restrictions of time and format than films, the storytelling tactics of television often appear extremely simple, especially in situation comedies and dramas with only one or two plotlines. Since the 1980s, dramas with multiple storylines have been praised as introducing complexity into narrative television. I shall argue, however, that good situation comedies and “simple” dramas often in fact also have an underlying complexity. Indeed, many of the interesting aspects of storytelling are hidden in television in a way that they are not in most other arts. We watch television via single episodes, and those episodes may be unremarkable. Yet television is structured in ways that become apparent only if we take the long view. Multiple-episode programs structure narratives within episodes, across seasons, and across a potentially lengthy succession of seasons. To some extent, both classical films and television programs hide their own cleverness in a show of simplicity. In television particularly, the complexity fades into the tenuous connections across a series. Similarly, the virtues of the individual episode— compact exposition, swift progression from cause to effect, establishment of material for future entries in the series—make little impression unless one pays keen attention or undertakes actual analysis, either of the episode or across the season. My first chapter tackles the issue of how one might do that sort of close narrative analysis within episodes ..." (Preface, page ix-x) more

Mit Fernsehserien nachhaltig wirken: Ein praktisches Handbuch für Drehbuchautoren

Turan Ali

Hannover; Berlin: Deutsche Stiftung Weltbevölkerung;Berlin-Institut für Weltbevölkerung und globale Entwicklung (2002), 55 pp.

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Dramaturgie für Spielfilm, Hörspiel und Feature

Ulla Mothes

Konstanz: UVK (2001), 164 pp.

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45 Master Characters: Mythic Models for Creating Original Characters

Victoria Lynn Schmidt

Cincinnati, Ohio: Writer's Digest (2001), 298 pp.

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The Complete Idiot's Guide to Screenwriting

Skip Press

Alpha (2001), xviii, 365 pp.

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Poetik des Filmdramas für Drehbuchautoren

Burkhard Driest

Frankfurt am Main: Zweitausendeins (2001), 315 pp.

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Las telenovelas: Cómo son, cómo se escriben

Eduardo Adrianzén Herran

Lima: Pontificia Universidad Católica del Perú (2001), 262 pp.

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Vor dem Dreh kommt das Buch: Ein Leitfaden für das filmische Erzählen

Michael Schneider

Gerlingen: Bleicher (2001), 416 pp.

"Der Autor arbeitete als Lektor und Dramaturg. Er hat eine Professur an der Filmakademie Baden-Württemberg im Fachbereich Drehbuch inne. "In diesen Leitfaden fließen nicht nur Schneiders eigene Erfahrungen aus seiner zehnjährigen Lehrtätigkeit ein, sondern auch die Essenz der wichtigsten und for ... more

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Multiskilling for Television Production

Peter Ward, Alan Bermingham, Chris Wherry

Oxford: Focal Press (2000), xii, 404 pp.

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Quotenfieber: Das Geheimnis erfolgreicher TV- Movies

Sam Davies

Bergisch Gladbach: Bastei Lübbe (2000), 223 pp.

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Unternehmen Drehbuch: Drehbücher schreiben, präsentieren, verkaufen

Julian Friedmann

Bergisch Gladbach: Bastei Lübbe (1999), 302 pp.

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Puppets with a Purpose: Using Puppetry for Social Change

Peter McIntyre

Penang (MY): Southbound (1998), 90 pp.

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Die Kunst des Drehbuchlesens

Oliver Schütte

Bergisch Gladbach: Bastei Lübbe (1998), 239 pp.

"Eine Einführung in die Drehbuchanalyse und -bewertung für Dramaturgen, Produzenten, Lektoren und Redakteure mit anschaulichen Beispielen aus Deutschland. Schütte ist Leiter der Masterschool Drehbuch in Postdam und hat dort die Seminare "Kunst des Drehbuchlesens" entwickelt." (Verlagsbeschreibung ... more

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The Screenwriter's Bible: A Complete Guide to Writing, Formating, and Selling Your Script

David Trottier

Los Angeles: Silman James Press, 3rd expanded and updated ed. (1998), 314 pp.

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Lehrbuch der Film- und Fernsehregie

Alan A. Armer

Gesine Flor; Harald Utecht; Martin Weinmann (Übers.)

Frankfurt am Main: Zweitausendeins (1997), xiv, 477 pp.

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Das Handbuch zum Drehbuch: Übungen und Anleitungen zu einem guten Drehbuch

Syd Field

Frankfurt am Main: Zweitausendeins, 9th ed. (1997), 232 pp.

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Soap Operas for Social Change: Toward a Methodology for Entertainment-Education Television

Heidi Noel Nariman

Westport, Conn.; New York: Praeger (1993), xxii, 143 pp.

"Following his experiences in the production of soap operas Miguel Sabido of Televisa (Mexico City) developed a theory as well as practical guidelines for entertainment-education soap operas. Such entertainment education soap operas like "Ven conmigo" and "Acompañame" have been very popular in Mexi ... more

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First Steps to TV-Video Production

Sr. Mary Peter Claver, Sr. Mary Jyosita

Patna: Bharati Bhawan (1992), 125 pp.

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Die Technik des Drehbuchschreibens für Film und Fernsehen

Eugene Vale

München: TR-Verlagsunion, 3d ed. (1992), 287 pp.

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TV ao vivo - depoimentos

Cláudia Macedo, Angela Falção, Cándido José Mendes de Almeida (eds.)

São Paulo: Editora Brasiliense;Centro Cultural Candido Mendes (1988), 302 pp.