TV Scripts Research Articles

Automatic Generation Algorithm of Movie and TV Scripts Based on ChatGPT

A movie or TV script is a meticulously crafted document that serves as the blueprint for a visual storytelling project. It outlines the dialogue, actions, and scene descriptions that will unfold on screen, guiding actors, directors, and crew members in bringing the story to life. Each script is divided into scenes and acts, with clear instructions on character entrances and exits, camera angles, and pacing. This paper introduces a novel framework for enhancing the quality of movie and TV scripts through the integration of the Combinational Multi-Stage Genetic Optimization (CMSGO) model with ChatGPT, a state-of-the-art language generation model. The CMSGO model utilizes iterative optimization techniques to systematically refine and enhance script elements such as coherence, dialogue flow, character development, and overall narrative structure. The proposed CMSGO model comprises the Combinational model with the genetic optimization function. The function CMSGO model examines the fitness function with the Multi-Stage Optimization process. The proposed CMSGO model uses the estimation of features in the Multi-stage optimization model with the computation of features related to the scripts. Through 20 generations of optimization, the CMSGO model demonstrates its effectiveness in improving script quality, as evidenced by a steady increase in average script quality scores. Additionally, the multi-stage optimization approach targets specific aspects of script quality, allowing for targeted adjustments to parameters related to character motivations, plot coherence, and tone. Viewer opinions further validate the efficacy of the generated scripts, with positive evaluations across various aspects such as audience engagement, coherence, emotional impact, and originality. The proposed framework offers a robust and data-driven approach to scriptwriting, enabling the creation of high-quality movie and TV scripts that captivate and resonate with audiences, thus enriching the overall viewing experience.

FRAME STRUCTURE OF THE CONCEPT LOVE

The article deals with the analysis of the language representation of the concept LOVE in the modern English TV scripts. The main theoretical and methodological approaches to the study of the concept were systematized in modern cognitive linguistics and lingo culture. It’s aimed at developing the complex methodology of the analysis of the concept LOVE, actualized in the modern English TV scripts. The methods of research have become the basis of the conceptual analysis that includes dictionary definitions, synonymous rows of the concept’s name and also frame analysis which treats concept as a form of the ordered structure. The focus of the research deals with the analysis of the frame structure of the concept LOVE. The concept is viewed as a unit of mental process which is coded in the language. The survey was made concerning the explicit means of realization of the thing frame, the action frame, the possession frame, the identification frame, and the comparison frame of the concept as well as the conceptual metaphors. Verbal content of the frame structure represents the variety of lexico-semantic classes. Action schemas of state / process, of contact action as well as a causative schema are outlined and described. The possession frame elucidates two specifications: the part-whole schema and the inclusion schema. The thing frame is connected with the qualitative schema, existence schema and the locative schema. The identification frame comprises several classifiers and it’s found to be least representative. The comparison frame integrates the entities which are based on their sameness or likeness. As a result of the study, the frame analysis of the concept LOVE has been outlined and structured.

Narrative Boundaries Annotation Guide

It is rare for a story to have only a single narrative level: in fact, even the simplest stories usually contain multiple nested stories. The following is an annotation guide for encoding the boundaries between narrative levels, and which has been validated on modern fiction and TV scripts. We provided definitions of and give instructions for annotating information about each narrative level: embedded narratives, interruptive narrative, flashbacks (analepsis), and flashforwards (prolepsis). This annotation schema can be used for many types of narratological and computational research, however our intention in developing it was to lay the foundation for training computers to automatically extract narrative levels from long text.

Формирование социолингвистической компетенции на основе упражнений с использованием аллюзивных имен на уроках английского языка в старшей школе

The research objectives are as follows: to develop methodology to form senior pupils’ sociolinguistic competence when teaching English on the basis of literary texts, to identify criteria for choosing linguistic content. The article clarifies the content of the notion “sociolinguistic competence”, analyzes sociolinguistic information contained in classical and modern literary texts. The conclusion is made that vertical context has changed over time. In this connection the author discusses the problem of choosing the content of teaching sociolinguistic competence. Scientific originality of the study involves developing methodology to form senior pupils’ sociolinguistic competence when teaching English on the basis of literary texts containing allusive names. The following conclusions are justified: the content of teaching sociolinguistic competence in senior classes should include normative data of thesaurus dictionaries, fragments of literary texts, movie scripts, TV scripts.

The Jurisdiction of the Writers Guild to Determine Authorship of Movies and Television Programs

This paper, part of a symposium on literary-legal scholarship on the concept of “Juris-Dictions,” explores the uses of the concept of jurisdiction in the process by which the Writers Guild of America (WGA or Guild) – the union that represents film and TV writers – determines screen credit for writers. Screen credit is governed by the terms of a contract between the WGA and production companies stipulating that the WGA has the exclusive jurisdiction to determine screen and advertising credit for writers who worked on the production. The jurisdiction of the WGA to determine credit – which is the power of writers to decide authorship of works that the writers do not own and of which they are not the legal “authors” within the meaning of copyright law – is enormously important to writers. It gives writers the power to determine who should be known as the author of a film or TV script, which affects how much writers get paid, whether their future work will get produced, how they are regarded within the Hollywood community, and how films and TV programs are interpreted by critics and by that segment of the public who pay attention to writers. Hollywood writers use the legal concept of jurisdiction to assert their power to define authorship, and they use multiple forms of procedural and substantive law to determine the credited author of a script. Because writers are not owners of their work, and because many people contribute to the finished film, writers are credited for stories that are not quite the same as the ones they actually wrote. Yet they insist on credit nevertheless, and for good reason. Ever anxious about their status as the authors of a film in a world in which directors and actors are far more likely to be seen by the public and by critics as the authors of a film or TV show, writers use their jurisdiction over writing credit to protect their status as authors. While jurisdiction is always the device by which law sanctions the exercise of power, the jurisdiction of the Writers Guild reflects and creates a particular form of power in Hollywood: the power to define individual authorship of a collective creation, which in turn creates the power to be paid to tell stories.

A reflection on the translation of sex-related language in audio-visual texts: the Spanish version of J.K. Rowling’s The Casual Vacancy

ABSTRACTStudies on the way sex-related language has been approached in audio-visual translation are still rather limited. This article documents the range of solutions given in Spanish to the sex-related language present in the British TV series The Casual Vacancy (2015), based on the novel of the same title by J.K. Rowling. In order to do so I will cursorily follow the sex-related items on their way from the original novel (The Casual Vacancy, 2012) to its Spanish translation (Una vacante imprevista, 2012) and, later on, to the Spanish screen. For my analysis, the TV script for the BBC One series (February 2015) and the Spanish dubbed version for Canal Plus (May 2015) will be considered. The study shows that patterns of sexual terms, and of how sexual terms are translated, are key indicators of a society’s attitude towards sex/sexuality, (im)morality, (in)decency, the body and gendered/sexual ideologies.

Solitary Discourse Is a Productive Activity

Young adults received information regarding the platforms of two candidates for mayor of a troubled city. Half constructed a dialogue between advocates of the candidates, and the other half wrote an essay evaluating the candidates’ merits. Both groups then wrote a script for a TV spot favoring their preferred candidate. Results supported our hypothesis that the dialogic task would lead to deeper, more comprehensive processing of the two positions, and hence a richer representation of them. The TV scripts of the dialogue group included more references to city problems, candidates’ proposed actions, and links between them, as well as more criticisms of proposed actions and integrative judgments extending across multiple problems or proposed actions. Assessment of levels of epistemological understanding administered to the two groups after the writing tasks revealed that the dialogic group exhibited a lesser frequency of the absolutist position that knowledge consists of facts knowable with certainty. The potential of imagined interaction as a substitute for actual social exchange is considered.

Manuscripts in an Archive: Two Unpublished Rushdie Novels and a TV Script

The article examines two unpublished novels and a TV script by Rushdie deposited in the Emory University Salman Rushdie Archive. Its aim is to offer an analysis of the contents of these unpublished works as well as to theorize their status with reference to fair copies of texts that do not have their corresponding published versions. Against Rushdie’s own declaration that these works were “garbage”, ephemeral material unworthy of circulation in the public domain, and certainly not useful to him as signposts of paths taken towards the composition of his more artistically accomplished works, the paper suggests unpublished fair copies have both intrinsic and textual value. As texts in potentia they require a theoretical model that would read them as text qua text and not as fair copies to be compared to their published versions.

An Indonesian concatenative speech synthesis system

An Indonesian concatenative speech synthesis system was developed that can (1) differentiate between the pronunciation of [e] and [@] (XSAMPA) by utilizing a pronunciation dictionary and pronunciation rules and (2) automatically create derived words that are then inserted into the pronunciation dictionary, which is used in converting text into phonemes. Speech data were recorded from a female native Indonesian speaker. Phrases included proper nouns and text samples from Indonesian textbooks, newspaper articles, and TV scripts, which covered almost all possible Indonesian syllables. There were 4,490 phrases lasting a total of 5.1 hours. The transcription was constructed considering pauses during narration. A forced alignment technique was used to obtain the phoneme boundary of the speech, and each phoneme and its acoustic/linguistic features were added to a database. In the synthesis step, an input text was converted into phonemes. An appropriate segment sequence, which has features similar to the phonemes...

Hybrid TV Scripts and Streamings: A Project Strategy for the Design of Connected and Convergent Interfaces to T-Commerce Applications

Hybrid TV Scripts and Streamings: A Project Strategy for the Design of Connected and Convergent Interfaces to T-Commerce Applications

What Is an Ideal Script? Panel Discussion within the Framework of the Conference »Hero in Modern Writing»

The conference «Hero in Modern Writing « was held in VGIK with the panel discussion «What is an ideal script» as its key event. With the aim of training young scriptwriters the participants discussed the matter of creating a quality film and TV script and analyzed the problem of an ideal script criteria.

Ken Wilson: Author, Teacher, and Teacher Trainer

Ken Wilson is an author and trainer. He has written more than thirty ELT titles, including a dozen series of course books, including Smart Choice for Oxford University Press (OUP). He also writes lots of supplementary material, and in 2008, OUP published Drama and Improvisation, a collection of more than 60 of his ELT drama and motivational activities. His first publication was a collection of songs called Mister Monday, which was released when he was 23, making him at the time the youngest-ever published ELT author. Since then, he has written and recorded more than 150 ELT songs, published as albums or as integral parts of course material. He has also written more than a hundred ELT radio and television programs for the BBC and other broadcasters, including fifty radio scripts for the Follow Me series, thirty Look Ahead TV scripts and a series of plays called Drama First.Until 2002, Ken was artistic director of the English Teaching Theatre, a touring company which performed stage-shows for learners of English. The ETT made more than 250 tours to 55 countries, including three visits to Japan. Ken is an enthusiastic blogger, tweeter and social networker. He lives in London England with his wife Dede and two cats, and works in a shed at the end of his garden.

Lost and gone for ever? The search for early British screenplays

The systematic collection and preservation of film and TV scripts at a national level has never been implemented in the United Kingdom. While the British Film Institute National Library (BFI) has a respectable collection of around 25,000 scripts, this has been built up from donations over the 75 years of the BFI’s existence. The silent film period, to 1930, is particularly affected by this lack of national care; the BFI has less than 100 British scripts from this period. Researchers from the University of Leeds spent several months in 2007 and 2008 seeking and collating information from around the world, with grant-aid support from the British Academy. The intention was to find out if any British silent film scripts had found a home in both British and foreign institutional collections, or elsewhere. The results were in general as expected – no major new collections were unearthed – but in part surprising. As a result of this a database has been compiled. Why should we search for scripts? It is now being realized that screenplay and other documentation hold information about the provenance and development of the screen idea that a film cannot provide. For some, the script may be a useful substitute for a lost film, but more importantly understanding how the film was envisaged before principal photography can reveal much about the industrial assumptions associated with film production in general, and about that screen idea in particular.

The Jurisdiction of the Writers Guild to Determine Authorship of Movies and Television Programs

This paper, part of a symposium on literary-legal scholarship on the concept of “Juris-Dictions,” explores the uses of the concept of jurisdiction in the process by which the Writers Guild of America (WGA or Guild) – the union that represents film and TV writers – determines screen credit for writers. Screen credit is governed by the terms of a contract between the WGA and production companies stipulating that the WGA has the exclusive jurisdiction to determine screen and advertising credit for writers who worked on the production. The jurisdiction of the WGA to determine credit – which is the power of writers to decide authorship of works that the writers do not own and of which they are not the legal “authors” within the meaning of copyright law – is enormously important to writers. It gives writers the power to determine who should be known as the author of a film or TV script, which affects how much writers get paid, whether their future work will get produced, how they are regarded within the Hollywood community, and how films and TV programs are interpreted by critics and by that segment of the public who pay attention to writers. Hollywood writers use the legal concept of jurisdiction to assert their power to define authorship, and they use multiple forms of procedural and substantive law to determine the credited author of a script. Because writers are not owners of their work, and because many people contribute to the finished film, writers are credited for stories that are not quite the same as the ones they actually wrote. Yet they insist on credit nevertheless, and for good reason. Ever anxious about their status as the authors of a film in a world in which directors and actors are far more likely to be seen by the public and by critics as the authors of a film or TV show, writers use their jurisdiction over writing credit to protect their status as authors. While jurisdiction is always the device by which law sanctions the exercise of power, the jurisdiction of the Writers Guild reflects and creates a particular form of power in Hollywood: the power to define individual authorship of a collective creation, which in turn creates the power to be paid to tell stories.

Do Androids Dream of Electric Speech? The Construction of Cochlear Implant Identity on American Television and the “New Deaf Cyborg”

Do Androids Dream of Electric Speech? The Construction of Cochlear Implant Identity on American Television and the “New Deaf Cyborg”

Advertising suburbanization in Mexico City – El Pedregal press campaign (1948–65) and television programme (1953–54)

This paper studies the publicity sponsored by the management of El Pedregal, a vast garden suburb south of Mexico City that, privately designed, began construction in 1947. The commercialization of a suburban proposal for a population that was not accustomed to low density patterns of settlement proved difficult. In order to overcome the public's initial reluctance towards suburban living, the promoters of El Pedregal paid for a 17 year long press campaign of advertisements, and for two year long television campaign consisting of a weekly prime‐time television program dedicated monographically to the subdivision. Both the ads and the TV scripts exemplify the propaganda techniques with which the private economic forces behind processes of suburbanization profoundly changed the set of popularly accepted urban models for Latin American Cities.

The Language of Film: Corpora and Statistics in the Search for Authenticity. Notting Hill (1998) - A Case Study

While it is well known that film scripts generally fall short of capturing the varied and subtle characteristics of spontaneous dialogue, it is less clear exactly how and to what extent such language fails to ‘ring true’. Extensive investigation into the components of both spontaneous talk and film discourse over a wide range of film and television material have proved a solid basis on which to extend research in this field. With the aid of corpus linguistics and the assistance of statistics experts, some interesting phenomena have been uncovered relating directly and indirectly to the original aims of the research.For example, comparisons of British and American film and TV scripts with spoken language corpora such as those within the Bank of English project and the San Diego spoken language corpus, have already provided material to prove the hypotheses about the lack of authenticity in film material. But observing the changes that take place between an original script and the transcription of the final version of a film text is more illuminating, as are the statistical analyses that show how particular language features occur in clusters and bundles (Biber et al 2004), and how combinations of word and word groups seem primed (Hoey 2004) for different film genres. This paper therefore sets out to illustrate the methodology employed in this particular study of film language, explain the results obtained and present the serendipitous findings that the research threw up, with particular reference to the film Notting Hill.

Comment

Further to our notes over the past few months on the saga of tributyl tin based anti‐fouling paints — banned from small inshore craft since May 28th, Michael Levete of the Paintmakers Association has written to his “favourite Minister” for clarification on several points, and in a style which would ensure that he be short listed as a TV script writer for a certain programme.

Franz Xaver Kroetz: The Emergence of a Political Playwright by Richard W. Blevins (review)

Book Reviews 141 critics, often fascinated by abstract theories or seemingly perfect methods. too frequently forget: that literature and theater do not exist as the subject of critical methods, but come into being as the human expression ofprofoundly human experience. FRANCO ZANGRILLl, BARUCH COLLEGE, CUNY RICHARD W. BLEVINS. Frallz Xaver Kroetz: The Emergence afa Political Playwright. New York: Peter Lang Publishers 1983. Pp. 295. Franz Xaver Kroetz caused a sensation on the West German theater scene with the premieres of his plays Harlfliickig and Heimarbeit in 197I. These brutally naturalistic dramas portrayed the problems of society's poor and underprivileged, those whose inarticulateness and entrapment within a morality deformed by a capitalistic economy resulted in self-destructive acts of violence. In recent years, Kroetz has come te mistrust the effectiveness of this dramaturgy and moved towards a more positive realism. His continued success has been astonishing in light of what he describes in a 1980 interview as the difficulties realistic authors face when asserting themselves against the more resigned and self-reflecting "new subjectivism" which has pennealed West Gennan theater since the mid-seventies. In Gennan theater, he states with some uneasiness, there exists little between "abstract" and "naturalistic." What links these seemingly disparate trends in contemporary Gennan theater is a common attitude towards language: the inadequacy of language to reflect and portray social reality. The "politicization" of the theater that began in the sixties was followed by a growing skepticism in the power of theater to effect social change. Contemporary German tbeater is a reflection on the modern chasm between language and social reality, on the relationShip between theater and politics. This issue is as central to a Handke as it is to a Kroetz. For a playwright whose intentions are as expressly political as they are for Kroetz, the issue is particularly problematic. Through his precise and detailed portrayals of the everyday problems of working-class citizens, Kroetz hopes to expose the destructive mechanisms ofcapitalistic West Gennan society. Richard Blevins's book focuses on the sociopolitical substance of Kroetz's plays, and on the extent to which they succeed or fail in realizing the author's intentions. Tracing Kroetz's political development from "angry young man" to active member of the West German Communist Party, Blevins undertakes to discuss the effect of this development on his quite considerable artistic production between 1968 and 1978: some thirty plays (including TV scripts and mdio plays), a collection of interviews with Bavarian workers, a report on fanning conditions in the GDR, as wen as extensive essays, speeches, and interviews. Blevins organizes his material according to the various stages which reflect the particular aesthetic questions confronting the author as his political intention became more defined and as he responded to critical reaction: the brutal naturalism and dramaturgy of ucompassion" of the early plays, the experiments with Brechtian and agitprop techniques, the return to the '42 Book Reviews working class and a modified brand of proletarian realism which portrays average workers who possess a greater ability 10 articulate their problems and are capable of some positive development. Criticism of Kroetz generally falls into two main categories: that which deals with Kroetz's oeuvre as a whole, focusing on the "development" described above, and that which concerns itself primarily with detailed analyses of the linguistic mechanisms and dialogue structures of individual plays. Belvins's approach is the fonner, and although one must admire the exhaustive effort involved in dealing with Kroetz's artistic and theoretical output in its entirety, such an approach necessarily suffers the drawbacks of the comprehensive overview. Blevins's central thesis, that "the fundamental issues and basic subject matter of Kroetz's plays have remained constant" (p. 9), and that "virtually all of Kroetz's dramas are both naturalistic and political" (p. 92), would benefit from a greater awareness of just how heavily these plays depend on Kroetz's manipulation of language/dialogue for their formal and thematic unity. (Much of the literature based on this recognition is conspicuously absent from Blevins's bibliography.) The most widely acclaimed of Kroetz's plays seldom point as directly or explicitly as Blevins would have us believe to the real social and political forces...

The writer's role in CCTV production

Television is thought of as a visual medium but the bulk of information received from TV is perceived by the ear, one word at a time. To compensate for the lack of `structure' cues as in printed material, the TV script writer must think in terms of pacing, verbal transitions, vitality of expression, and visual images. Sentences should be simple and direct and words unambiguous. He should use conversational tone, not conversation; state points and facts before expounding on them; and pace rather than pack information.