Micropolitics of Screenplay Development:  A Political History

k 2013

Micropolitics of Screenplay Development: A Political History

SZCZEPANIK, Petr

Základní údaje

Originální název

Micropolitics of Screenplay Development: A Political History

Autoři

SZCZEPANIK, Petr (203 Česká republika, garant, domácí)

Vydání

6th Screenwriting Research Network International Conference, University of Wisconsin-Madison, USA, 2013

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

Umění, architektura, kulturní dědictví

Stát vydavatele

Spojené státy

Utajení

není předmětem státního či obchodního tajemství

Kód RIV

RIV/00216224:14210/13:00066694

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

scenáristika; stalinismus; státne-socialistický systém filmové produkce; Filmové studio Barrandov

Klíčová slova anglicky

screenwriting; Stalinism; State-socialist Mode of Film Production; Film Studios Barrandov

Štítky

Aesthetics, film archive, film history, media history, media industry, rivok

Příznaky

Mezinárodní význam

Změněno: 8. 4. 2014 15:25, doc. Mgr. Petr Szczepanik, Ph.D.

Anotace

V originále

This paper will explore the inner workings and power dynamics of communities of practice (or "screen idea work groups" -- see Macdonald 2010) involved in story development in the history of Czech cinema. It will focus on the political history of screenplay development practices and formats, especially on so-called "literary screenplay" -- a Soviet type of scenario introduced in the Eastern Europe in the late Stalinist era to attract literary authors to write for screen, to elevate the cultural status of the screenplay, and to facilitate pre-censorship. The primary means for the communist ideologues to reform screenwriting was so-called dramaturgy, organized in a complex hierarchy of dramaturgical institutions, with state or central dramaturgy at the top and so-called "units" at the bottom. In the state-controlled system of production, the "dramaturge", or the head of the unit who supervised a group of some four dramaturges, was basically an equivalent to a producer, though without the usual financial, green-lighting and marketing responsibilities (which were held by the state, or the Party and their representatives). The units oversaw story development and the selection of cast and crews, as well as (in some historical periods) the actual shooting and post-production, and occasionally even distribution. The paper will show how uncovering logics of institutionalized practices of collaborative creative work under political influence can help us make sense of the vast screenplay collections kept in Prague archives. To that end, the paper combines production studies with textual analysis and political history of the production system. It reveals differences between production modes and screenwriting practices in Hollywood and Europe, or, in the West and the East. In terms of data, it is based on a serial analysis of 100 Czech screenplays from the 1920s-1980s, complemented by their development forms (synopsis, treatments, etc.), by oral history and institutional history.

Návaznosti

GAP409/10/1361, projekt VaV

Název: Historie ateliérů na Barrandově z hlediska organizace a kultury filmové výroby

Investor: Grantová agentura ČR, Historie ateliérů na Barrandově z hlediska organizace a kultury filmové výroby

Citovat

SZCZEPANIK, Petr. Micropolitics of Screenplay Development: A Political History. In 6th Screenwriting Research Network International Conference, University of Wisconsin-Madison, USA. 2013.

@proceedings{1138931,
   author = {Szczepanik, Petr},
   booktitle = {6th Screenwriting Research Network International Conference, University of Wisconsin-Madison, USA},
   keywords = {screenwriting; Stalinism; State-socialist Mode of Film Production; Film Studios Barrandov},
   language = {eng},
   title = {Micropolitics of Screenplay Development: A Political History},
   year = {2013}
}

TY  - CONF
ID  - 1138931
AU  - Szczepanik, Petr
PY  - 2013
TI  - Micropolitics of Screenplay Development: A Political History
KW  - screenwriting
KW  - Stalinism
KW  - State-socialist Mode of Film Production
KW  - Film Studios Barrandov
N2  - This paper will explore the inner workings and power dynamics of communities of practice (or "screen idea work groups" -- see Macdonald 2010) involved in story development in the history of Czech cinema. It will focus on the political history of screenplay development practices and formats, especially on so-called "literary screenplay" -- a Soviet type of scenario introduced in the Eastern Europe in the late Stalinist era to attract literary authors to write for screen, to elevate the cultural status of the screenplay, and to facilitate pre-censorship. The primary means for the communist ideologues to reform screenwriting was so-called dramaturgy, organized in a complex hierarchy of dramaturgical institutions, with state or central dramaturgy at the top and so-called "units" at the bottom. In the state-controlled system of production, the "dramaturge", or the head of the unit who supervised a group of some four dramaturges, was basically an equivalent to a producer, though without the usual financial, green-lighting and marketing responsibilities (which were held by the state, or the Party and their representatives). The units oversaw story development and the selection of cast and crews, as well as (in some historical periods) the actual shooting and post-production, and occasionally even distribution. The paper will show how uncovering logics of institutionalized practices of collaborative creative work under political influence can help us make sense of the vast screenplay collections kept in Prague archives. To that end, the paper combines production studies with textual analysis and political history of the production system. It reveals differences between production modes and screenwriting practices in Hollywood and Europe, or, in the West and the East. In terms of data, it is based on a serial analysis of 100 Czech screenplays from the 1920s-1980s, complemented by their development forms (synopsis, treatments, etc.), by oral history and institutional history.
ER  -

SZCZEPANIK, Petr. Micropolitics of Screenplay Development: A Political History. In \textit{6th Screenwriting Research Network International Conference, University of Wisconsin-Madison, USA}. 2013.

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