{"id":1282,"date":"2024-03-29T14:39:35","date_gmt":"2024-03-29T12:39:35","guid":{"rendered":"https:\/\/www.unatcpress.ro\/?post_type=product&p=1282"},"modified":"2024-03-29T14:42:44","modified_gmt":"2024-03-29T12:42:44","slug":"on-screenwriting","status":"publish","type":"product","link":"https:\/\/www.unatcpress.ro\/en\/produs\/on-screenwriting\/","title":{"rendered":"On screenwriting"},"content":{"rendered":"

Dialogues are an ancient philosophical exercise, all the more important to perpetuate in an age where on the one hand the need for reformed democracies, with a higher degree of concrete participation, is increasingly expressed, and on the other hand formal education based on a rigid vertical structure of knowledge transmission, is viewed with growing skepticism. Although both the initiator of the discussions featured in this volume, Lucian Georgescu, and his interlocutor, Dumitru Carab\u0103\u021b, speak with an explicit nostalgia about a certain effervescent intellectual climate existing in the mythical past of the great literary authors, but also in the recent Romanian one, in spite of dictatorship – a climate that has now disappeared -, their approach is eminently modern. Blending the professional with the personal, it aims to translate into a more accessible form Carab\u0103\u021b’s complex, arborescent and erudite theory of screenwriting, which he articulated by working in the film industry between 1958 and 1987, teaching screenwriting since 1970 and writing several important theoretical books, such as <\/span>From Word to Image: Proposal for a Theory of Adaptation<\/span><\/i> (1987) and <\/span>Towards a Poetics of Screenplay<\/span><\/i> (1998).\u00a0<\/span><\/p>\n

After initially following a chronological structure, in which Carab\u0103\u021b is invited to relive the formative experiences of his student days, his work in the socialist film industry and his teaching activity, the dialogues focus on denser questions of screenplay theory, guided mainly by two intentions: that of peeling back the various layers of Carab\u0103\u021b’s conception, which had reached, by the time of his conversations with Georgescu, full maturity and roundness, and that of placing this conception in (an often conflicting) relation to the American “pragmatic” school of scriptwriting.\u00a0<\/span><\/p>\n

The dialogues contained in this volume are an opportunity to highlight, firstly, the freedom of Carab\u0103\u021b’s vision on what he calls “cellular forms of narrative material organizing […] into a subject” (p. 78) and, secondly, his great willingness to impart his system of thought about screenwriting and cinema. The book ends appropriately with an analysis by Steven Marras on the potential international diffusion of Carab\u0103\u021b’s poetics and a text by Georgescu briefly describing his vast activity – a final encouragement to the reader to begin a detailed exploration of the master\u2019s work.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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