AI vs. Human in Screenwriting: Is AI the Future Screenwriter? by Kemal Çelik

“…This research paper investigates the challenge of discerning between content generated by humans and AI language models across various screenwriting elements. The study presents loglines, treatments, synopses, and dialogue examples to a group of 24 participants. …”
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From scriptor to promptor: An evaluation of the status of authorship, authenticity, and creativity in light of the use of artificial intelligence in screenwriting by Ali Özgür Gürsoy, Serkan Şavk

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L’impact de l’image sur la perception et transformation des représentations mentales by Carmen Compte

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Religious Dramas in Italy. Dramaturgical Models, Thematization and Effectiveness of Biographical Miniseries by Armando Fumagalli

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Screen interpretation of Franz Kafka's novel 'The Trial': Interaction of the author with the s­cript writer and film director by K.V. Arjantzeva

“…Harold Pinter is a British writer, playwright, poet and screenwriter, and the recipient of the Nobel Prize in Literature in 2005, whose artistic genius is familiar to the Russian reading audience. …”
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Flirting with Controversy: Making Biopics about Truman Capote by Delphine Letort

“…Highlighting Truman Capote’s social life as a source of entertainment, the two films marginalize an author whose popularity overshadowed his literary achievements (including as a screenwriter).…”
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„Mała Wiera” (1988) – „czegoś tak obrzydliwego w naszym kraju jeszcze nie było…”. Оburzeni przeciw oświeconym. Przyczynek do studium nad mentalnością „homo sovieticus” u progu nowe... by Maria Natalia Kistowska

“…The basic material for the author were letters written by the audience to a movie screenwriter, Maryia Khmielik, and published as the last chapter of a film-based novel, both with the same title – Little Vera. …”
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‘Run, Forrest, run!’ … or not? The Remarkable Migration of Forrest Gump from Winston Groom’s 1986 Novel to Robert Zemeckis’ 1994 Film. by Isabelle ROBLIN

“…In this paper, I shall be concentrating on some of these obvious differences in the characterisation of Forrest without making value judgments on the perceived quality of the film or the novel, but by attempting to find out the reasons why the screenwriter and the director chose that very particular reading.…”
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From the Banned Telefilm to the Feature Film: the Two Versions of Alan Clarke’s Scum (1977-1979) by Nicole Cloarec

“…In response to the censoring of the original TV version, director Alan Clarke and screenwriter Roy Minton decided to re-shoot the film two years later for cinema release. …”
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Cinematic Orientalism: East-West Perception in Netflix's 'Swimmers' by Kemal Çelik

“…The orientalist and self-orientalist elements of the film are attempts to present an attractive narrative for Western audiences. The Muslim screenwriter's distortion of Eastern historical realities under Western producers' influence represents self-orientalism. …”
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Deux visions du noir : le roman Jack’s Return Home de Ted Lewis et le film Get Carter de Mike Hodges by Christophe BROCHIER

“…This article analyses Ted Lewis's novel Jack's Return Home (1970) and its film adaptation, Get Carter (1971) by director and screenwriter Mike Hodges. By studying the context in which the two works were written and the details of their content, I show that Lewis and Hodges each offer a different version of the same storyline. …”
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The Secret Life of Secret Agents: Alan Bennett and John Schlesinger’s An Englishman Abroad (1983) and A Question of Attribution (1991) by Nicole Cloarec

“…This is the challenge screenwriter Alan Bennett and director John Schlesinger have taken up in two films that form a diptych on two of the most notorious spies in British history, Guy Burgess in An Englishman Abroad (1983) and Anthony Blunt in A Question of Attribution (1991). …”
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« There are kisses for all » : Le defilé des jeunes hommes by Luc Bouvard

“…Everyone knows fidelity is not the most appropriate word when one deals with this film, owing to the essential addition made by the screenwriter James V. Hart, namely the love story across the ages between Dracula the Un-Dead and Mina, the reincarnation of Princess Elizabeta. …”
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Gender (im)balance in the Russian cinema: on the screen and behind the camera by Xenia Leontyeva, Olessia Koltsova, Deb Verhoeven

“…Both stereotyping and marginalization of women are positively related to the proportion of men in the film crew, especially in the role of screenwriter. Simultaneously, having more men in key positions is also correlated with access to larger budgets and better distribution, thus effectively impeding films with stronger women characters from wider audiences. …”
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A Room with Two Views: An Insight into the 1985 and 2007 Film Adaptations of E. M. Forster’s Novel by Elena Raicu

“…The novel was adapted for the screen twice: in 1985, based on a script by Ruth Prawer Jhabvala, and again in 2007, with the help of screenwriter Andrew Davies. The first film adaptation follows closely the original storyline, but Davies chooses to tell the same story from the main character’s point of view, as she recollects the past in a post-WWI period. …”
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Exploring the Present Through the Lens of the Past: A Comparative Analysis of Yo soy Lorenzo and Hijos del Desierto by Alejandro Bruna, Juan Pablo Sánchez Sepúlveda

“…Semi-structured interviews were conducted with screenwriters and script team leaders to understand how the present and contemporary themes are intertwined in period narrative. …”
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A study on the limits of digital creativity in the context of contemporary art and cinema by Selin Kiraz Demir, Gülsün Bozkurt

“…The results indicate that most participants are initially hesitant and have preconceptions about AI in screenwriting. However, despite these reservations, the majority found the AI-assisted treatment to be more successful, albeit for different reasons. …”
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Analysis of the Narration Time of Beyzayi Works Based on the Views of Gerard Genette A Case Study of the Play “The Eighth Voyage of Sinbad” and Screenplays of “Facing Mirrors” and... by Ali Khorashadi, Meghdad Javid Sabaghian

“…From this perspective, we encounter a unique phenomenon that allows screenwriters to access, research and study the screenplay itself - even before the film is made. …”
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Riding High in the Saddle: African American Subversion in the 1930s Western by Susan Savage Lee

“…It was also cheap to produce, a boon for screenwriters and directors like Williams with limited budgets. …”
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