Titlebook: Ethics in Screenwriting; New Perspectives Steven Maras Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 responsibility.morali

IRK

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音樂(lè)會(huì)

Screenwriting as Dialogic Ethics After ,r the chapter explores how dialogic ethics provides a useful framework to consider the construction of ethical relations in screenwriting. David Mich?d’s 2010 Australian film . forms a key case study. Maras argues that film and script use characters and situations to perform and explore different et

FOLLY

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Aesthete

Discursive Practices and Systems, of the in-house drama unit (DR Fiction) at the Danish Broadcasting Corporation (DR) as a case study. Since 2003, DR has had certain production ‘dogmas’ for how to develop television drama series. The dogma of ‘double storytelling’ insists on series containing social and ethical themes beside ‘the g

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engrossed

Govern outlines the central place of morals and ethics in his conception of a good story. In addition, he teases out the importance of truth-telling and the need to be mindful of justice, especially when writing about historical events such as the Hillsborough Stadium tragedy, the Liverpool Docks di

RECUR

https://doi.org/10.1007/978-3-642-48593-0eries . (2014) of which Packard was the lead writer and producer. Placing their work in the context of new theories of history writing, as well as a reconsideration of representation in ethnography and film studies, the chapter examines how the screenwriter of . negotiated and referred to a framewor