Abstract
One of my favourite parts of filmmaking is carrying out location ‘recces’. Some begin as a door knock in a targeted neighbourhood. That is how the producer and I found the main location for our short feature Parklands (1996),1 set in the suburbs of Adelaide in the mid-1990s. As the thermometer topped 30 degrees Celsius, we walked down street after street in Semaphore, a working-class suburb by the beach, and persuaded people to invite us in and show us through their homes. Eventually, we found a bungalow constructed from red brick in the period of austerity that followed World War Two. Renovated with a layer of pink stucco in the 1970s, it was a perfect fit for one of the film’s central characters (Figure 0.1).
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Notes
Parklands, directed by Kathryn Millard (1996; Sydney: Magnolia Pacific, 2003), DVD.
Travelling Light, directed by Kathryn Millard (2003; Sydney: Magna Pacific, 2003), DVD.
Follow the Fleet, directed by Mark Sandrich (1936; Los Angeles: Universal Pictures, 2005), DVD.
Top Hat, directed by Mark Sandrich (1935; Los Angeles: Universal Pictures, 2005), DVD.
Tino Balio, Grand Design: Hollywood as a Modern Business Enterprise 1930–1939 (Berkeley: University of California Press, 1995), p. 222.
The Boot Cake, directed by Kathryn Millard (2008; Sydney: Ronin Films, 2009), DVD.
Random 8, directed by Kathryn Millard (2012; Sydney: Ronin Films, 2013), DVD.
Charles Musser, The Emergence of Cinema: The American Screen to 1907, vol. 1 (Berkeley: University of California Press, 1994), p. 16.
Ken Dancyger and Jeff Rush, Alternative Scriptwriting: Successfully Breaking the Rules (Burlington: Focal Press, 2007), pp. 17–18.
Austin E. Quigley, The Modern Stage and Other Worlds (London: Methuen, 1985), p. 70.
See Erkki Huhtamo, ‘Natural Magic: A Short Cultural History of Moving Images’ in The Routledge Companion to Film History, ed. William Guynn (Abingdon: Routledge, 2011), pp. 3–9.
See Erkki Huhtamo, ‘Screen Tests: Why Do We Need an Archeology of the Screen?’, Cinema Journal 51, no. 2 (2012): pp. 144–8.
Jean-Claude Carrière, The Secret Language of Film (New York: Pantheon, 1994).
Jean-Pierre Geuens, Film Production Theory (Albany: State University of New York Press, 2000).
J. J. Murphy, Me and You and Memento and Fargo: How Independent Screenplays Work (New York: Continuum, 2007);
J. J. Murphy, The Black Hole of the Camera: The Films of Andy Warhol (Berkeley: University of California Press, 2012).
Paul Wells, Basics Animation 01: Scriptwriting (Lausanne: AVA Publishing, 2007).
Adam Ganz, ‘ “Leaping Broken Narration”: Ballads, Oral Storytelling and the Cinema’ in Storytelling in World Cinemas, vol. 1: Forms, vol. 1, ed. Lina Khatib (New York: Chicago University Press, 2012), pp. 71–89.
See Adrian Martin, ‘Making a Bad Script Worse: The Curse of the Scriptwriting Manual’, Australian Book Review (April 1999): pp. 23–6;
Adrian Martin, ‘Where Do Cinematic Ideas Come From?’, Journal Of Screenwriting, Vol. 5, Number 1, 1 March 2014, pp. 9–26(18).
Theodor Adorno, ‘The Essay as Form’ in Notes to Literature, vol. 1, ed. Roll Tiedemann, trans. Shierry Weber Nicholsen (New York: Columbia University Press, 1991), pp. 3–23.
John Berger, And Our Faces, My Heart, Brief as Photos (London: Bloomsbury, 2005), p. 8.
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© 2014 Kathryn Millard
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Millard, K. (2014). Introduction. In: Screenwriting in a Digital Era. Palgrave Studies in Screenwriting. Palgrave Macmillan, London. https://doi.org/10.1057/9781137319104_1
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