A play is a work of drama, usually consisting mostly of dialogue between characters and intended for theatrical performance rather than just reading. The writer of a play is called a playwright.
Plays are performed at a variety of levels, from London's West End and Broadway in New York City – which are the highest level of commercial theatre in the English-speaking world – to regional theatre, to community theatre, as well as university or school productions. A stage play is a play performed and written to be performed on stage rather than broadcast or made into a movie. Stage plays are those performed on any stage before an audience. There are rare dramatists, notably George Bernard Shaw, who have had little preference as to whether their plays were performed or read. The term "play" can refer to both the written texts of playwrights and to their complete theatrical performance.[1]
https://en.wikipedia.org/wiki/Play_(theatre)
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A screenplay, or script, is a written work by screenwriters for a film, television show, or video game (as opposed to a stage play). A screenplay written for television is also known as a teleplay. Screenplays can be original works or adaptations from existing pieces of writing. A screenplay is a form of narration in which the movements, actions, expressions and dialogue of the characters are described in a certain format. Visual or cinematographic cues may be given, as well as scene descriptions and scene changes.
https://en.wikipedia.org/wiki/Screenplay
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History
In the early silent era, before the turn of the 20th century, "scripts" for films in the United States were usually a synopsis of a film of around one paragraph and sometimes as short as one sentence.[1] Shortly thereafter, as films grew in length and complexity, film scenarios (also called "treatments" or "synopses"[2]: 92 ) were written to provide narrative coherence that had previously been improvised.[1] Films such as A Trip to the Moon (1902) and The Great Train Robbery (1903) had scenarios consisting respectively of a list of scene headings or scene headings with a detailed explication of the action in each scene.[1] At this time, scripts had yet to include individual shots or dialogue.[1]
https://en.wikipedia.org/wiki/Screenplay
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https://en.wikipedia.org/wiki/Screenplay
Format and style
The format is structured so that (as a ballpark estimate) one page equates to roughly one minute of screen time, though this often bears little resemblance to the runtime of the final production.[3] The standard font is 12 point, 10 pitch Courier typeface.[4] Wide margins of at least one inch are employed (usually larger for the left to accommodate hole punches).
https://en.wikipedia.org/wiki/Screenplay
With the end of the studio system in the 1950s and 1960s, these continuities were gradually split into a master-scene script, which includes all dialogue but only rudimentary scene descriptions and a shooting script devised by the director after a film is approved for production.[1] While studio era productions required the explicit visual continuity and strict adherence to a budget that continuity scripts afforded, the master-scene script was more readable, which is of importance to an independent producer seeking financing for a project.[1] By the production of Chinatown (1974), this change was complete.[1] Andrew Kenneth Gay argues that this shift has raised the status of directors as auteurs and lowered the profile of screenwriters.[1] However, he also notes that since the screenplay is no longer a technical document, screenwriting is more of a literary endeavour.[1]
https://en.wikipedia.org/wiki/Screenplay
Speculative screenplay
A speculative screenplay or "spec script" is a script written to be sold on the open market with no upfront payment, or promise of payment. The content is usually invented solely by the screenwriter, though spec screenplays can also be based on established works or real people and events.[12]
https://en.wikipedia.org/wiki/Screenplay
Although most writing contracts continue to stipulate physical delivery of three or more copies of a finished script, it is common for scripts to be delivered electronically via email. Electronic copies allow easier copyright registration and also documenting "authorship on a given date".[6] Authors can register works with the WGA's Registry,[7] and even television formats using the FRAPA's system.[8][9]
https://en.wikipedia.org/wiki/Screenplay
Documentaries
The script format for documentaries and audio-visual presentations which consist largely of voice-over matched to still or moving pictures is different again and uses a two-column format which can be particularly difficult to achieve in standard word processors, at least when it comes to editing or rewriting. Many script-editing software programs include templates for documentary formats.
https://en.wikipedia.org/wiki/Screenplay
Script coverage
Script coverage is a filmmaking term for the analysis and grading of screenplays, often within the script-development department of a production company. While coverage may remain entirely verbal, it usually takes the form of a written report, guided by a rubric that varies from company to company. The original idea behind coverage was that a producer's assistant could read a script and then give their producer a breakdown of the project and suggest whether they should consider producing the screenplay or not.[13]
https://en.wikipedia.org/wiki/Screenplay
See also
- Pre-production – Phase of producing a film or television show
- Closet screenplay – Screenplay read by a person or aloud in a group rather than performed
- Dreams on Spec – Documentary film about screenwriters
- Screenwriter's salary – Writer who writes for films, TV shows, comics and games
- Scriptment – Written work by a screenwriter
- Storyboard – Form of ordering graphics in media
- Outline of film – Overview and topical guide to film
- List of screenwriting awards for film
https://en.wikipedia.org/wiki/Screenplay
- Fiction
- Fiction forms
- Film and video terminology
- Filmmaking
- Film production
- Screenwriting
- Television terminology
- Screenplays
https://en.wikipedia.org/wiki/Screenplay
 | This article needs additional citations for verification. (May 2023) |
Black-and-white (B&W or B/W) images combine black and white in a continuous spectrum, producing a range of shades of grey.
https://en.wikipedia.org/wiki/Black-and-white
https://en.wikipedia.org/wiki/Category:Fiction_forms
A mockumentary (a portmanteau of mock and documentary) is one type of film or television show depicting fictional events, but presented as a documentary which in itself is a subset of a faux-documentary style of film-making.[1]
These productions are often used to analyze or comment on current events and issues by using a fictional setting, or to parody the documentary form itself.[2] While mockumentaries are usually comedic, pseudo-documentaries are their dramatic equivalents. However, pseudo-documentary should not be confused with docudrama, a fictional genre in which dramatic techniques are combined with documentary elements to depict real events. Nor should either of those be confused with docufiction, a genre in which documentaries are contaminated with fictional elements.
Mockumentaries are often presented as historical documentaries, with B roll and talking heads discussing past events, or as cinéma vérité pieces following people as they go through various events. Examples emerged during the 1950s when archival film footage became available.[2] A very early example was a short piece on the "Swiss Spaghetti Harvest" that appeared as an April Fools' prank on the British television program Panorama in 1957.
The term "mockumentary", which originated in the 1960s, was popularized in the mid-1980s when This Is Spinal Tap director Rob Reiner used it in interviews to describe that film.[3][4][5]
Mockumentaries can be partly or wholly improvised.
https://en.wikipedia.org/wiki/Mockumentary
In film and television production, B-roll, B roll, B-reel or B reel is supplemental or alternative footage intercut with the main shot.[1] The term A-roll, referring to main footage, has fallen out of use.[2]
Film and video production
Films and videos may cut away from the main story to show related scenery or action. Establishing shots may be used to show the audience the context of the story. These secondary images are often presented without sound, or with very low level sound, as the sound from the primary footage is expected to continue while the other images are shown. The various shots presented without sound are called B-roll.[3]
B-roll may be shot by smaller second unit crews, since there is no need for sound. In film, smaller MOS cameras, lacking sound circuitry, may be used for greater portability and ease of setup.[3] In electronic news-gathering (ENG) and documentary film projects, B-roll footage is often shot after the main interview is shot, to provide supporting scenes for what was said by the interview subject.[2] In a docudrama project, B-roll may refer to dramatic re-enactment scenes staged by the producer and performed by actors, to be used as cutaway shots.[4]
There are many different types of B-roll, including: insert shots, FX shots, establishing shots, stock footage, and pickup shots.[5]
B-roll footage may be added to or drawn from a stock footage library.[1][4]
https://en.wikipedia.org/wiki/B-roll
Screenwriting software are word processors specialized to the task of writing screenplays.
https://en.wikipedia.org/wiki/Screenwriting_software
Jest books (or jestbooks) are collections of jokes and humorous anecdotes in book form – a literary genre which reached its greatest importance in the early modern period.[1]
https://en.wikipedia.org/wiki/Jest_book
The low-life, realistic tone of the jest book, akin to coney-catching pamphlets, fed into the early English novels (or at least prose fiction) of writers like Thomas Nashe and Thomas Deloney.[13] Jestbooks also contributed to popular stage entertainment, through such dramatists as Marlowe and Shakespeare.[14] Playbooks and jestbooks were treated as forms of light entertainment, with jokes from the one being recycled in the other, and vice versa.[15]
https://en.wikipedia.org/wiki/Jest_book
Coney-catching is Elizabethan slang for theft through trickery. It comes from the word "coney" (sometimes spelled conny), meaning a rabbit raised for the table and thus tame.[1]
A coney-catcher was a thief or con man.[2]
It was a practice in medieval and Renaissance England in which devious people on the street would try to con or cheat vulnerable or gullible pedestrians. The term appears in The Taming of the Shrew and The Merry Wives of Windsor by William Shakespeare, and in the John Florio translation of Montaigne's essay, "Of the Cannibals."
The term was first used in print by Robert Greene in a series of 1592 pamphlets,[3] [4] the titles of which included "The Defence of Conny-catching," in which he argued there were worse crimes to be found among "reputable" people, and "A Disputation betweene a Hee Conny-catcher and a Shee Conny-catcher." Kirby Farrell wrote a book called Cony-catching in 1971. Virginia Woolf mentions "cony catchers" in her 1928 novel Orlando: A Biography.
https://en.wikipedia.org/wiki/Coney-catching
https://en.wikipedia.org/wiki/Category:Archaic_English_words_and_phrases
https://en.wikipedia.org/wiki/Changes_to_Old_English_vocabulary
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Etymology (/ˌɛtɪˈmɒlədʒi/ ET-im-OL-ə-jee[1]) is the study of the origin and evolution of a word's semantic meaning across time, including its constituent morphemes and phonemes.[2][3] It is a subfield of historical linguistics, and draws upon comparative semantics, morphology, semiotics, and phonetics.
For languages with a long written history, etymologists make use of texts, and texts about the language, to gather knowledge about how words were used during earlier periods, how they developed in meaning and form, or when and how they entered the language. Etymologists also apply the methods of comparative linguistics to reconstruct information about forms that are too old for any direct information to be available. By analyzing related languages with a technique known as the comparative method, linguists can make inferences about their shared parent language and its vocabulary. In this way, word roots in many European languages, for example, can be traced all the way back to the origin of the Indo-European language family.
Even though etymological research originated from the philological tradition, much current etymological research is done on language families where little or no early documentation is available, such as Uralic and Austronesian.
https://en.wikipedia.org/wiki/Etymology
The Uralic languages (/jʊəˈrælɪk/; sometimes called Uralian languages /jʊəˈreɪliən/) form a language family of 38[1] languages spoken natively by approximately 25 million people, predominantly in Europe (over 99% of the family's speakers) and northern Asia (less than 1%). The Uralic languages with the most native speakers are Hungarian (which alone accounts for nearly 60% of speakers), Finnish, and Estonian. Other significant languages with fewer speakers are Erzya, Moksha, Mari, Udmurt, Sami, Komi, and Vepsian, all of which are spoken in northern regions of Scandinavia and the Russian Federation.
https://en.wikipedia.org/wiki/Uralic_languages
The name "Uralic" derives from the family's purported "original homeland" (Urheimat) hypothesized to have been somewhere in the vicinity of the Ural Mountains.
Finno-Ugric is sometimes used as a synonym for Uralic, though Finno-Ugric is widely understood to exclude the Samoyedic languages.[2] Scholars who do not accept the traditional notion that Samoyedic split first from the rest of the Uralic family may treat the terms as synonymous.[3]
https://en.wikipedia.org/wiki/Uralic_languages
https://en.wikipedia.org/wiki/SIBERIA
https://en.wikipedia.org/wiki/X-RAY-CATHODE
https://en.wikipedia.org/wiki/RAILGUN
https://en.wikipedia.org/wiki/MECHANICS_MECHANICAL_PHYSICS
https://en.wikipedia.org/wiki/DRAFT
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