ORCID Profile
0000-0002-8307-3939
Current Organisation
Griffith Film School
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Publisher: Informa UK Limited
Date: 02-02-2023
Publisher: Informa UK Limited
Date: 04-05-2023
Publisher: Intellect
Date: 03-2020
DOI: 10.1386/JOSC_00013_1
Abstract: This article investigates the writing of the Female Gothic as extended metaphor in the Complex TV series Big Little Lies (2017). It builds on my earlier work, ‘Theme and complex narrative structure in HBO’s Big Little Lies 2017’ (2019), wherein I applied Porter et al.’s (2002) structuralist narrative tool, the ‘Scene Function Model’, to investigate the way narrative and theme is progressed in complex interweaving stories via the writing of core or ‘kernel’ narrative scenes. Herein, I further investigate storytelling in series TV by proposing the ‘satellite’ narrative scene as a means by which the screenwriter may conceptualize and deploy metaphor to create viewer engagement. First, I consider David E. Kelley’s series screenplay, Big Little Lies , as a blueprint for HBO’s televised series. Specifically, I apply theories of Complex TV, Gothic Television and Domestic Noir to consider how Kelley deploys the Female Gothic as extended metaphor to inform formal narrative elements including the pre-titles sequences and flashbacks repeated across episodes.
Publisher: Intellect
Date: 09-2020
DOI: 10.1386/JOSC_00037_1
Abstract: The films of Latin American female screenwriters, Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru), have achieved international prominence in recent years. In this article we create new insights into the ways in which these screenwriters have developed scripts for films that have made a mark on the world stage. To this end we will investigate how this acclaim has been enabled by their screenwriting decisions which focus on the creation of women-centred films, as well as their use of the family story as a means of exploring contemporary social and political themes, to tell universal stories that highlight the global in the local. In doing so we canvas the personal, industrial and social factors which have impacted Martel, Muylaert and Llosa’s screenwriting careers which have been instrumental in the script development of the films: La Ciénaga ( The Sw ) (Martel 2001) Que Horas Ela Volta ? ( The Second Mother ) () and La Teta Asustada ( The Milk of Sorrow ) (). The research for this article is based on personal and media interviews with the writers, as well as contemporary information available only in Spanish and Portuguese, as translated from the original Spanish and Portuguese by Clarissa Miranda.
No related grants have been discovered for Margaret McVeigh.