Series page for
Palgrave Studies in Screenwriting
Ian W. Macdonald, University of Leeds, UK
J.J. Murphy, University of Wisconsin-Madison
Steven Maras, University of Sydney, Australia
Kathryn Millard, Macquarie University, Australia
John Adams, University of Bristol, UK
Adam Ganz, Royal Holloway University of London, UK
Jill Nelmes, East London University, UK
Steven Price, Bangor University, UK
Eva Novrup Redvall, University of Copenhagen, Denmark
Kristin Thompson, University of Wisconsin-Madison, USA
Paul Wells, Loughborough University, UK
Palgrave Studies in Screenwriting is the first book series to focus on the academic study of screenwriting. It seeks to promote an informed and critical account of screenwriting and of the screenplay, looking at the connections between what is produced and how it is produced, with a view to understanding more about the diversity of screenwriting practice and the texts produced. The scope of the series encompasses a range of study from the creation and recording of the screen idea, to the processes of production, to the structures that form and inform those processes, to the agents and their discourses that create the texts that present those screen ideas.
In recent years, the scholarly analysis of screenwriting has developed and formed into distinctive area of research and scholarship, supported by the establishment in 2008 of the Screenwriting Research Network, and in 2010 of the peer-reviewed Journal of Screenwriting.
Defining screenwriting broadly in terms of the conceptualization of moving image screenworks, the series envisages screenwriting studies as an interdisciplinary project, overlapping with Film, Media, Literary and Cultural Studies, and Visual Arts/Design, with perspectives and inspiration taken from academic work in areas as varied as Media Industries, Creative Writing, Performance, Photography, Narratology, Cognitivism, Creativity and others.
Screenwriting, in this broad sense, is about the interactions of structure, agency and text around practices that have existed in both industrial and personal spheres in film, TV, and other image-based media for more than a century.
The series seeks to support new research that challenges the boundaries of how screenwriting is (or might be) conceived and practiced. It encourages work that presents new findings, or new insights, or demonstrates new and appropriate ways of approaching study and research into screenwriting. The series encourages work that reflects on the challenges of collaboration and technological change in an era when visual narrative industries are changing rapidly. The board is especially interested in supporting projects that:
• expand our historical understanding of screenwriting practices,
• internationalize screenwriting research,
• diversifies our understanding of national screenwriting cultures,
• deepen our understanding of screenwriting in and for different genres,
• provide new perspectives on the study of US screenwriting,
• consider the impact on new technologies and new media on the conceptualization of screen narrative,
• explore different aspects of the development of the screen idea,
• further define the extent of this research area.
This list is of course merely suggestive; we welcome clearly articulated proposals on any new topic within the broad area of screenwriting studies. We are looking for sole or collaboratively authored monographs .