REVISED CONFERENCE PROGRAM [August 19, 2013]

We advise conference participants, if possible, to attend the entire conference.
 
Unless otherwise noted, all conference events take place in Vilas Hall, 821 University Ave.
 
Information about Same-Day Registration and Check-In can be found on our Registration Page.
 
 

Day 1

9:00                        Introduction, Rm 4070

9:30 – 10:30            Keynote: Larry Gross, Rm 4070
 

“The Watergate Theory of Screenwriting: Making Information Interesting”

 
 
10:30 – 10:45          Break
 
 
10:45 – 12:30          Digital Scripting, Rm 4070

Adam Ganz (Royal Holloway University of London), “Play from Slide Show:  PowerPoint, Screenwriting, and Writing on Screen”

Kathryn Millard (Macquarie University, Sydney), “Improvising Reality”

Andrew Kenneth Gay (University of Central Florida), “Theorizing the Lean Screenplay”

Richard Neupert (University of Georgia), “Writing to Fit the Technology:  Pixar as Test Case”

Mining the Archive, Rm 4008

Vance Kepley (University of Wisconsin-Madison), “Scripting the Unscripted Film: Emile de Antonio’s Documentaries”

Patrick Keating (Trinity University), “The Screenplay in the Archive:  Notes on Pedagogy”

Stephen Curran (Brunel University), “The Contribution of One Key Screenwriting Teacher:  Capt. Leslie T. Peacocke (1895-1941) to the Early Screenwriting Discourse”

Andrea Comiskey (University of Wisconsin-Madison), “Script Construction and the Conception of Cinematic Language, 1913-1915”

 
 
12:30 – 1:30            Lunch
 
 
1:30 – 3:15              Screenwriting Through the Historical Lens, Rm 4008

Chris Pallant (Canterbury Christ Church University) & Steven Price (Bangor University):  “Screenwriting and Storyboarding”

Miguel Mota (University of British Columbia), “Publishing the Screenplay:  The Case of Faber & Faber”

David Resha (Birmingham-Southern College), “Errol Morris and Mise-en-scène Storytelling”

Gendered Perspectives and National Context, Rm 4070

Jill Nelmes (University of East London), “Women Screenwriters:  The Transition from Film to TV in the UK”

Jule Selbo (California State University, Fullerton), “Contrasting Female Screenwriting Voices in Japan and The U.S. in the Decade Following World War II”

Kelley Conway (University of Wisconsin-Madison), “Reconsidering New Wave Scripts: A Genealogy of Varda’s La Pointe Courte”

 
 
3:15 – 3:30              Break

3:30 – 5:15              Expanding Theoretical Perspectives, Rm 4070

Marja-Riitta Koivumäki (Aalto University), “What is Film Dramaturgy and What is Dramaturgical Research?”

Davinia Thornley (University of Otago), “Making Robert Sarkies’s Out of the Blue:
Adaptation and Indigenization in Aotearoa New Zealand”

Colin Burnett (Washington University in St. Louis), “Impure Harmonies:  A Theory of Plot Structuring in Art Films”

Steven Maras (University of Sydney), “Screenwriting Ethics in Animal Kingdom”

Woody Allen Meets Pasolini, Rm 4008

Gregg Bachman (University of Tampa), “Disruptive Dialogues:  An Exploration of Religion and Ethnicity in Contemporary Jewish-American Film”

Caroline Verner (York University), “Woody Allen’s Multiverse:  Midnight in Paris and the Screenwriter’s Cosmos”

Claudia Romanelli (University of Alabama), “Pasolini Writes Fellini:  The Case of The Nights of Cabiria”

Riikka Pelo (Aalto University), “Rhythmicising the Subjectivity of the Character:  Free Indirect Narration in Screenwriting”

 
 
5:30 – 6:00              Open House and Demonstration,

Wisconsin Center for Film and Theater Research, Wisconsin Historical Society,

816 State St., 4th fl.

 
6:00 – 7:00              Reception, Wisconsin Center for Film and Theater Research, 1st Fl.
 

Day 2

 
9:15 – 10:15           Keynote Address:  Jon Raymond, Rm 4070
 

“Screenwriting as Earth Art”

 
 
10:15 – 10:30          Break
 
 
10:30 – 12:15          TV:  Crime, Sex, and Seriality, Rm 4070
 

Eva Novrup Redvall (University of Copenhagen), “Primetime Crime as ‘Triple Storytelling’:  The Writing of Forbrydelsen (The Killing)”

Jeff Rush (Temple University), “Open Worlds, Shifting Tropes and Character Development in The Sopranos and Breaking Bad”

Caryn Murphy (University of Wisconsin Oshkosh), “The Continuing Story:  Experiments with Serial Narrative in 1960s Prime-Time Television”

Rosanne Welch (California State University, Fullerton), “How the Growing Popularity of the English Who-niverse (including Torchwood) Affected American Television: A Catalog of Changes in Cross-Continent Collaboration, Diversity in Casting, and Methods of Distribution” 

Contemporary Screenwriting Approaches, Rm 4008

Thomas Pope (University of Minnesota), “The Good Guys and the Bad Guys:  Good and Evil in Screenwriting”

Hugo Vercauteren (Screenwriter-Producer), “Transmedia Storytelling:  ‘World Building’ and Constructive Narratives that Reach Across Multiple Platforms”

Jaakko Nousiainen (University of Lapland), “La Figure de la Terre:  Writing a Multimedia Opera”

Nathaniel Kohn (University of Georgia), “Grace Notes and Other Mendacities:  How a Producer Works with Novice Independent Screenwriters”

Adaptation and Translation, Rm 4028

Garry Lyons (University of Leeds), “Batman:  From Comic Book to Movie”

Laura Kanost (Kansas State University), “Screenplay Translation and Skopos:  Practical Examples from Works by Mexican Women Screenwriters”

Debbie Danielpour (Boston University), “Translating Narrative Voice and Complex Characters in Screenplay Adaptations of Literary Fiction”

Raija Talvio (Aalto University), “Hulda Goes to Hollywood”

 
 
12:15 – 1:15            Lunch
 
 
1:15 – 3:00              Institutional Approaches in Three National Contexts, Rm 4070
 

Petr Szczepanik (Masaryk University), “Micropolitics of Screenplay Development:  A Political History”

Maria Belodubrovskaya (University of Wisconsin-Madison), “Plotlessness:  Lessons in Soviet Screenwriting”

Bradley Schauer (University of Arizona), “First-Run and Cut-Rate:  Narrative Structure in 1950s Studio Programmers”

The Screenplay as Text and Beyond, Rm 4008

Lezli-An Barrett (Curtin University), “Theorising the Screenplay as Liminal Text”

Carmen Sofia Brenes (Universidad de los Andes), “Aristotle’s Notion of Action as Light to the Screenwriting Process”

Ronald Geerts (Université Libre de Bruxelles), “Real Open Endings or, ‘It did have an ending, but…’”

Samuel Marinov (Georgia State University) & Brock Stitts (Existential Analytics), “Development of Screenwriting Analysis Software Based on Pfister’s Theory of Verbal Communication”

 
 
3:00 – 3:15              Break
 
 
3:15 – 4:45              Global Perspectives, Rm 4008
 

Margot Nash (University of Technology Sydney), “Signs of the Shadow:  Lore as Case Study on Adaptation and Shadow Narrative”

Marc Silberman (University of Wisconsin-Madison), “The Lives of Others:  Screenplay as Literature and the Literary Film”

Kath Dooley (Flinders University, South Australia), “From Novel to Scenario:  the Screenwriting Practices of Catherine Breillat”

Digital Scripting and Narrative, Rm 4070

Tina Kymalainen (Aalto University), “Using Narratives for Constructing Intelligent Environments”

Rosamund Davies (University of Greenwich), co-authored by Paul Rissen (BBC) and Michael O. Jewell (University of Southampton), “Transmedia Scripting for Historical Drama”

Eric Hoyt (University of Wisconsin-Madison), “From Narratives to Nodes:  Network Visualizations of the Screenplay”

 
 
4:45 – 6:45              Publishing Initiatives Workshop, Rm 4070
 

Keynote & Workshop Moderator: Jill Nelmes (University of East London), “Taking the Pulse of Screenwriting Research: Past, Present and Future”

Andrew Horton (University of Oklahoma), “Writing A History of Hollywood & American Screenwriting from 1900 to the Digital & YouTube Present”

Paolo Russo (Oxford Brookes University), “Encyclopedia of Screenwriting Project”

Ian Macdonald (University of Leeds), Palgrave Studies in Screenwriting

Jill Nelmes (University of East London), Journal of Screenwriting

Jule Selbo (California State University, Fullerton), Women Screenwriters International Guide (WSIG)

 
 
7:15 – 9:30              Conference Dinner, Fresco
 
 

Day 3

9:30 – 10:30          Keynote Address: Kristin Thompson, Rm 4070:
 

“Extended How? Narrative Structure in the Short and Long versions of The Lord of the Rings, Dances with Wolves, and Kingdom of Heaven”

 
 
10:30 – 10:45          Break
 
 
10:45 – 12:30          Alternative Forms of Scripting, Rm 4070
 

J.J. Murphy (University of Wisconsin-Madison), “Cinema as Provocation:  Norman Mailer’s Assault on the Screenplay”

Mark Minett (University of South Carolina), “Altman Unscripted?”

John Powers (University of Wisconsin-Madison), “A Pony Not To Be Ridden:  Screenwriting and the Avant-Garde Cinema”

Line Langebek (Regent’s University London) & Spencer Parsons (Northwestern University), “Cassavetes’s Screenwriting Practice:  Improvising the Emotions”

Contemporary Approaches to Screenwriting Pedagogy, Rm 4008

Kerstin Stutterheim (Babelsberg Film University, Konrad Wolf), “Cross-Media and Cross-Europe Storytelling”

Margaret McVeigh (Griffith Film School, Queensland College of Art, Griffith University), “Screenwriting Sans Frontières”

Louise Lindbom (Umeå University), “How Scriptwriting is Taught in Sweden Today”

 
 
12:30 – 1:30            Lunch
 

Board Meeting, (University Club, 803 State Street)

 
 
1:30 – 3:15              Storytelling Strategies, Rm 4070

Lea Jacobs (University of Wisconsin-Madison), “The Problem of Dialogue After Sound”

Alex Munt (University of Technology Sydney), “Life Kills:  Writing the Unconventional Main Character”

Ian Macdonald (University of Leeds), “Weaving Screen Ideas on an Industrial Scale: Soap and the Screen Idea Work Group”

David Bordwell (University of Wisconsin-Madison), “How Much Novelty Can the Audience Stand? Answers from 1940s Hollywood”

 
 
3:15 – 3:30              Break
 
3:30 – 4:45              General Assembly, Rm 4070