Dennis Packard

In this study, I explore the viability of what Carl Dreyer called film novels or filmscripts in the form of novels. I show that these novels are viable---that is, they can be written and filmed in ways that deeply engage us in understanding them. ;In the introduction, I explain that this study is a poetics---that is, it formally defines film novels, specifies a standard for successful film novels, and specifies ways of creating film novels so that they are likely to be successful. I then survey what scholars have written about these script-like novels. ;In the first chapter, I define film novels as short, visually engaging novels-that is, short novels that continually engage readers in picturing scenes. I then explore the historical background of this type of novel. ;In the second chapter, I explain that successful film novels are interpretively engaging---that is, they engage readers, not only in continually picturing scenes, but also in thoughtfully interpreting them. I then trace the history of film novels and show how they, and films based on them, have engaged readers and viewers in interpreting them. ;In the third chapter, I explain that thoughtful interpretation can be understood as generous interpretation if we use the word generous as Jean-Paul Sartre did. Drawing on Sartre's philosophy of literature, I explain how generous writers engage readers in generous interpretation. ;In the fourth chapter, I explain how writers can generously create characters and plots for film novels. In the fifth, I present detailed exercises to help writers generously create scenes and storylines for film novels. In the sixth, I explain how filmmakers can generously turn film novels into films. ;I conclude that film novels come from a tradition of highly visual novels, film novels can be deeply engaging, and this engaging quality can be preserved in films

Performance theorists have identified a central problem in live artistic performances— sometimes a performance is transcendently good, but more often it is not. Even the best performers give uneven performances over time, and educators are frequently at a loss as to what teaching methods will counteract this phenomenon. So how can we provide a useful approach for educators to reduce inconsistency, without sacrificing quality, in the performing arts? This is the question that we hope to address in this paper, by outlining a philosophical grounding for a more consistent type of performance.First, we give a historical analysis of three differing solutions to this problem of consistency, looking to Plato, Diderot, and...