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The New Screenplay? Emerging Styles, Modes, and Languages (Journal of Screenwriting)

The New Screenplay? Emerging Styles, Modes, and Languages (Journal of Screenwriting)

Publié le par Marc Escola (Source : Gabrielle Tremblay)

Call for Articles

Journal of Screenwriting, Special Issue

The New Screenplay? Emerging Styles, Modes, and Languages

The Journal of Screenwriting is calling for articles for a special issue on emerging screenwriting styles, modes, and languages, to be published in November 2022.

Deadline: April 1st 2021

Screenwriting has witnessed a variety of developments throughout different media in recent decades.  However, for a long time now, the literary nature of the screenplay has given rise to many passionate, even fierce debates and the idea that as a textual artefact the screenplay does not exist on its own still dominates many practitioners and theorists’ perception and speech. This “teleological cage” – the idea that the sole purpose of a screenplay resides in its screen transposition – tends to eclipse the screenplay textuality. That being said, even at a time when the multiplication of screens gives the impression that text is a less prominent media, the fact remains that a great number of screenplays are constantly being written and read each year, everywhere in the world.

Not wishing to (re)question whether or not the screenplay is a literary form, but rather focusing on stakes raised by screenplay textuality, this issue of the Journal of Screenwriting is dedicated to emerging screenplay styles, modes and languages, in all media and different national contexts.

We seek theoretical reflections on different approaches, analysis of storytelling strategies, as well as analysis of individual screenplays or cases, and investigations of bodies of work and practices with a specific focus on emerging screenplay styles, modes, and languages. Articles may include (but are not limited to) the following topics:

Thematic and critical screenplay analysis focusing on emerging styles, modes, and languages

Intermedial perspectives on screenplay textuality

Textual artefact & Screen Idea

New technologies and cross-media strategies impact on screenplay styles, modes and languages

Screenplay textuality in the context of script development

Screenplay textuality & experimental practices

National and global tendencies concerning screenwriting styles, modes and languages

Challenging the doxa: marginalized voices and representation of social diversity through emerging screenplay styles, modes, and languages

Institutional, industry, and/or personal resistance to emerging screenplay styles, modes and languages

Screenplay readership studies

Rethinking the life of a produced screenplay

The screenplay as a textual artefact: pedagogical avenues, approaches, and possibilities for non-practice-based curriculum


In the first instance, please email abstracts of up to 400 words and a short biography, no later than April 1st 2021, to both of the editors of this special issue: Dr Romana Turina ( and Prof. Gabrielle Tremblay (

Completed articles of between 4000 and 8000 words (in accordance to the Journal of Screenwriting’s house style: should be sent by November 1st 2021.

Key dates recap:

Abstracts and short bio to be submitted by April 1st 2021;

Acceptance/rejection of abstracts will be completed by the end of June 2021;

First drafts of articles for peer review are due on November 1st 2021;

Final rewrites will be due April 1st 2022 to ensure publication in November 2022.


The Journal of Screenwriting is an international peer-reviewed journal published three times annually by Intellect, and is abstracted and indexed by Thomson Reuters: ISI Web of Knowledge, MLA and FIAF. It explores the nature of writing for the screen image; this includes not only writing for film and television but also computer games and animation. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice.


Editors’ biographical note:

ROMANA TURINA holds a Ph.D. in Theatre, Film and Television from the University of York, a master in Comparative Literature from the University of Indianapolis (US), and a master in Screenwriting from the Bournemouth University (UK). Her Ph.D. thesis by Creative Practice combined the study of Italian cinema and history with the making of three essay films exploring the textual form a screenplay might acquire when the artist focuses on the translation of silenced history in the essay film form. Romana’s essay films Lunch with Family (Turina 2016) and San Sabba (Turina 2016) entirely based on archival research into silenced history, were short listed at the AHRC Research in Film Awards and Hollywood International Independent Documentary Awards. Romana Turina is now a Senior Lecturer in Film at the Arts University Bournemouth (UK), where she is teaching, and translating her extensive archival research into articles, and a monograph.

GABRIELLE TREMBLAY is a professor in screenwriting studies at the Université du Québec à Montréal (UQAM). In 2019-2020, Gabrielle Tremblay worked as an adjunct fellow at the University of Technology, Sydney (UTS) where she conducted the first phase of her current research project focussing on screenwriting within the academia. She holds a Ph.D. in Literary Studies from UQAM and a master’s in Film and Audiovisual Studies from the Université Sorbonne Nouvelle Paris 3. Her Ph.D. thesis focused on the experience of reading screenplays. In 2015, she published Scénario et scénariste (LettMotif, France), a monograph addressing the institutional recognition of the screenplay and the screenwriter in the French cinematographic art world.