Journal of Screenwriting

Papers
(The median citation count of Journal of Screenwriting is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-05-01 to 2026-05-01.)
ArticleCitations
Beyond textual fidelity: Creator interactions, professional boundaries and cultural hierarchies in Israel’s youth media adaptation system6
How we role: The collaborative role-playing poetics of the Secret Story Network5
Textual perspectives: Screenwriting styles, modes and languages4
The Sun and Her Stars: Salka Viertel and Hitler’s Exiles in the Golden Age of Hollywood, Donna Rifkin (2020)3
Representing the child-free woman in the twenty-first century biopic3
Script development: Writing beyond Hollywood2
In Custody: From written text to audio-visual discourse through a postcolonial lens2
Editorial2
Editorial2
Arc analysis: Redefining character arcs for ‘constant’ characters2
Lire des scénarios: Pour une approche interdisciplinaire et renouvelée des pratiques scénaristiques, Gabrielle Tremblay (2024)2
Neither artificial nor intelligent: Applications of artificial intelligence (AI) and creative machine learning in screenwriting and screen story development in the Charismatic Consortium2
Crafting characters: Screenplay archives from a star-studies perspective (Love Is My Profession, Claude Autant-Lara, 1958)2
The dramatization of the shepherd warrior in Christopher Marlowe’s Tamburlaine and the Jordanian drama Bedouin series Rās Ghlaiṣ (‘The head of Ghlaiṣ’)1
En Cas De Malheur, De Simenon A Autant-Lara (1956-1958): Essai De Genetique Scenaristique, Alain Boillat (2020)11
Editorial1
Introduction: Trauma, screenwriting and suffering – Beyond the gospel of story1
The accented Japanese screenplay: Transnational currents in contemporary Japanese cinema1
The case for team-based learning in higher education scriptwriting programmes: A narrative literature review1
Directory of World Cinema: Africa, Blandine Stefanson and Sheila Petty (eds) (2014)1
How backstory and direct address reformulate the Shakespearean character on television: The case of the missing psychological motivation for House of Cards’ Frank Underwood1
Bryan Fuller’s Hannibal: Cannibalizing the canon1
Refocus: The Films of Lawrence Kasdan, Brett Davies (2024)1
Reginald Rose and the Journey of 12 Angry Men, Phil Rosenzweig (2021)1
Teaching screenwriting from the inside out: The importance of writers’ inner, emotional discoveries in understanding the tools of screenwriting1
The economic case for equality in screenplays: The Bechdel test, female dialogue and box office revenue1
The power of schism: Unconventional narrative structure in No Country for Old Men1
Investigating a cinematic virtual reality narrative framework for screenwriting1
Stories we sell: Intellectual property, ownership and the impact on Canadian screenwriters1
Report from the 2024 Screenwriting Research Network Conference1
Piloting audience emotion for the television anti-heroine: Gender and immorality1
Henson and Juhl’s Tale of Sand: From lost archive to graphic novel and illustrated screenplay0
Editorial0
One viable protagonist, one viable choice: Resisting contradictory character change while writing an interactive film0
Editorial0
Inclusive Screenwriting for Film and Television, Jess King (2022)0
Comedy screenwriting and mental health0
Narrative structures in Colombian fictional web series published on YouTube0
Detrás de las sombras: Escritoras cinematográficas en el cambio de siglo en México, Maricruz Castro Ricalde and Diego Sheinbaum Lerner (2024)0
When Buffy saved the world: Looking back on a quarter century in Sunnydale0
Artificial intelligence use in screenwriting programmes in US and UK higher education: An exploratory research report0
Redefining roles: Human–AI collaboration in screenwriting0
Race and Entertainment: Reflections on Racism in Film, TV and the Media, Thandi Lubimbi (2024)0
Beyond the Hero’s Journey: Creating Powerful and Original Character Arcs for the Screen, Anthony Mullins (2022)0
Spinning and singing: Exploring memory and gender non-conformity through screenwriting for publication first0
Understanding the collaborative model of narrative in cinematic virtual reality0
Screenwriting and AI: Emerging theories, modes and practices0
Scene Writing: The Missing Manual for Screenwriters, Chris Perry and Eric Henry Sanders (2022)0
Editorial0
Unfilmed screenplays and artificial intelligence: Jodorowsky’s Dune, technological change and remediation0
Writing Women for Film and Televison: A Guide to Creating Complex Female Characters, Anna Weinstein (2024)0
Harnessing artificial intelligence for screenplay translation: A practice-based study on English-to-Korean screenplay adaptation0
SRN and Sightlines: Filmmaking in the Academy festival 2025 – A critical-creative report0
‘Almost unbelievably good’? The measure of (artificial) intelligence in a changing world for screenwriting0
Prototyping first-person viewer positions for VR narratives with storyboards and pilot productions0
From novel to screenplay: The rewriting of Hurricane Season (2017) by Fernanda Melchor into the screenplay by Elisa Miller (2022)0
What we cannot see in Sound of Metal and Her Smell: Interplays of awareness, perspective and language in the screenplay text0
Discontinuous aesthetics as a result of collaborative screenwriting: A genetic approach to John Berger and Alain Tanner’s screenplays10
William Faulkner in Hollywood: Screenwriting for the Studios, Stefan Solomon (2017)0
A Screenwriter’s Companion: Instruction, Opinion, Encouragement, Joseph Dougherty (2022)0
Scripting the silhouette: Writing around the participant in interactive virtual reality experiences0
Writing and Producing for Children and Young Audiences: Cases from Danish Film and Television, Eva Novrup Redvall (2024)0
Women, Ageing and the Screen Industries: Falling Off a Cliff?, Susan Liddy (ed.) (2023)0
Creative Practice Research in the Age of Neoliberal Hopelessness, Agnieszka Piotrowska (ed.) (2020)0
Collaborating on The Translator: The aesthetics and politics of screenwriting0
Ernest Lehman: The Sweet Smell of Success, Jon Krampner (2022)0
Editorial0
Creating Character Arcs: The Masterful Author’s Guide to Uniting Story Structure, Plot, and Character Development, K. M. Weiland (2016)0
Documenting trauma in the age of transitional justice: A study of Jesse Hung Wai-Kin’s (J. C. Hung) documentaries on Taiwan’s Public Television Service0
Rethinking screenwriting credits and the unproduced screenplay: Innovative approaches to accreditation using the script reading as an output0
Adaptation screenplays as performance texts: Axiological linguistic acts in a case of Basque writing0
Bringing queerness to the surface: Truman Capote’s November 1971 screenplay adaptation of F. Scott Fitzgerald’s The Great Gatsby0
Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears, Michael Schulman (2023)0
Just a story: Framing trauma within screenwriting practice0
John Waters: Pope of Trash, Jenny He and Dara Jaffe (eds) (2023)0
Reading the docufiction script: Harnessing the thin line between facts and fiction0
Rethinking our protagonists: Absence on screen and meta-narratives of empire0
Filmish energy: A textual analysis of Tony Gilroy’s screenplay, Michael Clayton (2006)0
The false villain method: Applying the vernacular approach to television character development0
Script Analysis: Deconstructing Screenplay Fundamentals, James Bang (2022)0
Tatiana Huezo: Trauma and the poetics of displacement0
In defence of deus ex machina0
Jenő Janovics: Michel Curtiz’s first screenwriter0
Editorial0
Do the Right Thing: Storytelling Secrets of Five Screenplays That Embrace Diversity, Karla Fuller (2023)0
Portraying disability with trauma: A case study of documentary screenwriting in presenting visually impaired subject0
Conversations with generative AI as co-writer and screen character: Scripting postdigital intimacies with the Screenwriting with AI Framework0
Why The Knockout (2023) became a phenomenal hit: A contextual analysis and interview with screenwriter Zhu Junyi10
Character composition: A new framework for TV serial drama characters0
Editorial0
The biopic screenplay as a research output: Towards a working definition of narrative fiction filmmaking methodology0
Abitibi360: An example of the evolution of writing for 360-degree films0
The stuff that dreams are made of: The Maltese Falcon and the art of adapted screenwriting0
Conceptualizing and developing narrative-based virtual reality experiences: A review of disciplinary frameworks and approaches to research0
Scripted resonance or lost in translation? Storytelling and Chinese reception of Everything Everywhere All at Once0
The Country Boy: Investigating the Dennis Potter Archive, Forest of Dean, England0
Dreamwork for Dramatic Writing: Dreamwrighting for Stage and Screen, David Crespy (2024)0
Screenwriting in French Cinema, Sarah Leahy and Isabelle Vanderschelden (2021)0
Alternative Scriptwriting: Contemporary Storytelling for the Screen, Ken Dancyger, Jessie Keyt and Jeff Rush (2023), 6th ed.0
Shadow Hollywood: Vertical drama and cross-cultural writing – How new models of drama production are impacting current screen industry practice0
Writing for instructional screens: Expanding the scope for screenwriting practitioners0
Re-defining the Character Arc through Berger and Luckmann’s The Social Construction of Reality0
Procession: The role of screenwriting and filmmaking in the healing process of survivors0
We need to talk about Lynne: Modular structure as a reflection of the traumatized psyche in We Need to Talk about Kevin0
Burn It Down: Power, Complicity, and a Call for Change in Hollywood, Maureen Ryan (2023)0
The Screenwriting Life, podcast with Meg Le Fauve and Lorien McKenna (inception 2 March 2020–present), https://www.thescreenwritinglife.co/ and https://www.patreon.com/TheScreenwritingLIfe, plus the u0
Shifting landscapes in the post-TV era: Impact of the streaming wave on Spanish screenwriters0
The Passion of Pedro Almodóvar: A Self-Portrait in Seven Films, James Miller (2025)0
Stand-up comedy to the screen: A satirical autoethnographic approach0
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