Introduction
Andrew Kenneth Gay (Southern Oregon University, USA) and Ann Iglestrom (Independent Scholar, UK)

Part I: The Screenplay as Narration and Focalization
Section Introduction
Andrew Kenneth Gay (Southern Oregon University, USA) and Ann Iglestrom (Independent Scholar, UK)

1. 'THE CAMERA IS JEAN-DOMINIQUE BAUBY' Narration & Focalisation in Three Texts of The Diving Bell and the Butterfly
Andrew Kenneth Gay (Southern Oregon University, USA)
2. Writing the Viewer: Narration and Perspective in a Cinematic Virtual Reality Screenplay
Kath Dooley (Curtin University, Australia)
3. Making Sense of Character Perspective in Languages of the 'Big Print': The Case of a Hand Losing Her Body in J'ai perdu mon corps/I lost my Body (2019)
Carina Böhm (Central Queensland University, Australia) and Craig Batty (University of South Australia)
4. Past and Present, Old and New (1929): On Tense, Time, and Narrators in Screenwriting
Alexandra Ksenofontova (Independent Scholar, Germany)
5. Look at Me: The Child's Gaze as a Culturally Informed Narrative Device in the Danish Screenplay En du elsker/Someone You Love (2014)
Cath Moore (University of Melbourne, Australia)

Part II: The Screenplay as Narrative Structure
Section Introduction
Andrew Kenneth Gay (Southern Oregon University, USA) and Ann Iglestrom (Independent Scholar, UK)

6. Imposing New Hollywood Structure on the Remake of 3:10 to Yuma
Mads Larsen (University of California, Los Angeles, USA)
7. Community-Centered Screenwriting: The Actualization of Narrative Sovereignty in Sterlin Harjo and Taika Waititi's Reservation Dogs
Jess King and Michelle Hurtubise (Independent Scholars, USA)
8. Narrative Structure in Mari Okada's Maquia: When the Promised Flower Blooms, Japan (2018)
Max Gee (Bournemouth University, UK)
9. Narrative Structure in the Iranian Screenplay: An Analysis of Asghar Farhadi's The Salesman (2016)
Chris Neilan (Manchester Metropolitan University, UK)
10. Time, Narrative and Boyhood
Carolina Amaral (Independent Scholar, Brazil)
11. Time is Relative – A Modern and Postmodern Approach to Time in Kubrick's Shining
Kerstin Stutterheim (Academy of Media Arts Cologne, Germany)
12. Is It Or Isn't It? Narrative Ambiguity and Queerness in Barbie (2023)
Tracy Mathewson (University College London, UK)

Part III: The Screenplay as Cinematic Language
Section Introduction
Andrew Kenneth Gay (Southern Oregon University, USA) and Ann Iglestrom (Independent Scholar, UK)

13. Visual Dramaturgy – From Caligari to Shutter Island
Kerstin Stutterheim (Academy of Media Arts Cologne, Germany)
14. Cinema and the Camera-eye in Alan Sharp's Screenplay-novel Hybrid Picture Yourself
River Seager (University of Dundee, UK)
15. Apropos of Editing and Camera Cues: A Comparative Analysis of the Screenplay Texts for Federico Fellini's Le notti di Cabiria (Nights of Cabiria)
Claudia Romanelli (The University of Alabama, US)
16. A Boy And His Watermelons: Mise-En-Scene In Sweet Country
Glenda Hambly (Monash University, Australia)
17. Sound Design and Music Proposals in Lucrecia Martel's Swamp Screenplay
Iana Cossoy Paro (EICTV International Film School, Cuba)
18. Screenwriting in Waltz Time: Walter Reisch's Musical Writing in Two Hearts in Waltz Time
Claus Tieber (University of Vienna, Austria)

Part IV: The Screenplay as Creative Practice
Section Introduction
Andrew Kenneth Gay (Southern Oregon University, USA) and Ann Iglestrom (Independent Scholar, UK)

19. 'Such a Foreign Presence in Hertfordshire': Black Georgian Women Coming into Representation in Misan Sagay's Belle (2009/2012)
Claudia Sternberg (Independent Scholar, UK)
20. Characterization, Dialogue, and Performance in Lawrence Kasdan's Screenplay for Raiders of the Lost Ark
Brett Davies (Meiji University, Japan)
21. Maryam's Windows and Marziyeh's Screens - Layers of Processes, Poetics and Authorship in 3 Faces, by Jafar Panahi
Márcio Andrade (Independent Scholar, Brazil)
22. Dorothy Parker: The Creative Genius Behind the Film Franchise A Star Is Born
Rosanne Welch (Stephens College, USA)
23. Narrative Strategies in Biopics Based on Scant Historical Evidence: The Return of Martin Guerre
Indranil Chakravarty (LV Prasad Academy of Film & TV, India)
24. Exploring Characterization and Theme in the Screenwriting Process: The Case of Gladiator
Carmen Sofia Brenes (Universidad Gabriela Mistral, Chile, and Universidad Internacional de la Rioja, Spain)
25. A Few Good Men: When Adaptation Captures The Essence Of The Original
Paulo Braga (Università Cattolica del Sacro Cuore, Italy)
26. An Exemplary Adaptation: Sense And Sensibility
Armando Fumagalli (Università Cattolica del Sacro Cuore, Italy)

Index