Screen Studies: Bloomsbury and Faber Screenplays and Criticism - Searc
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In Bruges (2008)

Directed by

Martin McDonagh

Written by

Martin McDonagh

Screenplay

Image
...Bruges Streets – Night Various shots of the empty, cobblestoned, other-worldly streets of Bruges, Belgium. It’s winter, and a freezing fog covers everything; the Gothic churches, the narrow canals, their odd little bridges. We could...

Never Let Me Go (2010)

Directed by

Mark Romanek

Written by

Alex Garland

Screenplay

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...Field ‒ Early Evening Long shadows as the sun goes down. A field, by a road, lined with a fence. Snagged in the barbed wire are hundreds of plastic bags. Refuse and litter, blown by the wind, until they were caught. Kathyvoice-over I’m...

T2 Trainspotting (2017)

Directed by

Danny Boyle

Written by

John Hodge

Screenplay

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...Gym. Day A black matt surface. It starts moving, slowly at first. It is the rubber treadmill of a running machine. A pair of male feet in trainers step on and start walking. The pace increases steadily, then the machine tilts to create...

The Dark Stage

Rikke Schubart

Rikke Schubart is Associate Professor in Media Studies at the Institute for the Study of Culture, University of Southern Denmark in Odense, Denmark. Her research focuses on gender, genre, and emotions in cinema and media. Schubart’s publications include Bloomsbury’s recent Women of Ice and Fire: Gender, Game of Thrones and Multiple Media Engagements (2016, co-edited with Anne Gjelsvik), Eastwood’s Iwo Jima: A Critical Engagement with Flags of Our Fathers and Letters from Iwo Jima (2013, co-edited with Anne Gjelsvik), and Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970–2006 (2007). Author affiliation details are correct at time of print publication.

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Mastering Fear : Women, Emotions, and Contemporary Horror

Bloomsbury Academic, 2018

Book chapter

...One of my favorite horror scenes is in the British monster movie The Descent (2005, Neil Marshall), where six women go on a trip into a mountain cave system. It happens after tunnels collapse behind them and there is no turning back....

The Cowboy, the Spaceman and the Guru: Character and Convention in the Screenwriting of Toy Story

Andrew Gay

Andrew Gay

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Toy Story : How Pixar Reinvented the Animated Feature

Bloomsbury Academic, 2018

Book chapter

...And thank goodness we were just too young, rebellious and contrarian at the time. That just gave us more determination to prove that you could build a better story. And a year after that, we did conquer it. And it just went to prove...

Toy Stories through Song: Pixar, Randy Newman and the Sublimated Film Musical

Susan Smith

Susan Smith is Reader in Film Studies at the University of Sunderland, UK. She is author of Elizabeth Taylor (BFI/Palgrave, 2012), Voices in Film (Wallflower Press, 2007), The Musical: Race, Gender and Performance(Columbia University Press, 2005) and Hitchcock: Suspense, Humour and Tone (BFI, 2000). She also co-edits the BFI’s Film Stars series. Author affiliation details are correct at time of print publication.

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Toy Story : How Pixar Reinvented the Animated Feature

Bloomsbury Academic, 2018

Book chapter

...From the initial sunny bars of Randy Newman’s solo rendition of ‘You’ve Got a Friend in Me’ near the start of Toy Story (John Lasseter, 1995) to the Gipsy Kings’ flamenco version (‘Para El Buzz Espanol’) during the closing credits of Toy...

O Brother, Where Art Thou? (2000)

Directed by

Joel Coen

Written by

Joel Coen

and

Ethan Coen

Screenplay

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...Black In black, we hear a chain-gang chant, many voices together, spaced around the unison strike of picks against rock. A title bums in: O muse! Sing in me, and through me tell the story Of that man skilled in all the ways of contending,...