CADERNO DE RESUMOS II Congresso Internacional da ... - Unesp

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Programação & Caderno de ResumosB. Semple stories collected in The Best of Simple. (Both Childress‘s and Hughes’s pieces are short enough to copy and distributeto members of the seminar to read during the session.) Theyare different in form, with Childress using her skills as a playwrightto craft her day worker Mildred’s monologues to a friend whodoes not speak, while Hughes’s stories are dialogues betweenSimple’s ordinary-everyman figure and his educated and sophisticateddrinking buddy. Childress’s pieces are more directly in the traditionof Juvenal‘s excoriation of the upper classes, Hughes more gentlepieces more like Horace‘s “dulce et utile,” but both are closelygrounded to the real social experience of their first intendedaudience, the readers of the African American weeklies in whichthey were first published.Cinenigmas IIProf. Dr. Lance Pettitt (Leeds Metropolitan University)This session will focus on Irish autobiographical writing, memoirand theatre based on a life that has been adapted for film or TV.It will be practically orientated. What are the prescribed methodsby which any screen writer, producer and director approachesthe prospect of making a 30-60 minute documentary based onan autobiographical source? Is the subejct living or dead? Whatother writing have they produced? Who will be interested in thislife on screen, why? What visual image sources are available?Are we able to access still photography in the public realm orcan we get ´personal´images? Crucially, what moving image footagehas been shot, is it available, how much will the rights cost?What is the outlet for this film: is it intended for a ´high end´relatively minority audience on satellite TV or arts angle slot onterrestrial TV? Is this a stand alone TV programme or can it beoffered within a series? What is the core or basis of the story ofthe subject? Can their life and career be broken down into stages,episodes, phases with an over-arching narrative? If so, how canthis story be shown in pictures? Do we have recorded voice ofthe subject? What happens if we opt for a professional voiceover?Could we collage bits from the subjects own literary work,diaries or letters...or from their films, TV appearances, or shootnew footage with associates, family and friends? Students ofthis workshop will be asked in advance to bring exercises on64
II Congresso Internacional da ABRAPUIselected Irish subjects - for example, Christy Brown (My LeftFoot, 1989), Michael MacLiommor (The Importance of Being Oscar,1964), The Hard Road to Klondike (Michael McGowan, 1948; DesBell, 1999), John McGahern (Memoir, 2005/RTE) and Travellingthe Road (B.D. Hurst, c.1975). Some of these are well known,popular film formats, others are creative documentary, the lastas yet unmade. The workshop will attempt to produce a drafttreatment for a topic and will include screenings of AV examples.65
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