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The schreiber theory : a radical rewrite of American film history

Author: David Kipen
Publisher: Hoboken, N.J. : Melville House Pub., ©2006.
Series: Melville manifestos.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"In an edgy and funny manifesto, critic David Kipen says, au contraire to the old film school theory that gives all the credit to the director, the auteur theory." "Instead, inspired by "the mother tongue of America's first screenwriters," he uses the Yiddish word for writer to coin The Schreiber Theory, which decrees that knowing who wrote a film is often a far better and more consistent guide to knowing whether a
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Genre/Form: History
Additional Physical Format: Online version:
Kipen, David.
Schreiber theory.
Hoboken, N.J. : Melville House Pub., ©2006
(OCoLC)649964889
Document Type: Book
All Authors / Contributors: David Kipen
ISBN: 9780976658337 097665833X
OCLC Number: 62324799
Description: 172 pages ; 16 cm.
Contents: Pre-credit sequence : the mis-shelved library --
I. Establishing shot --
II. Introduction of the hero --
III. Flashback --
IV. Arrival of the arch-villain --
V. Upping the stakes --
VI. Death comes for the arch-villain --
VII. Dolly out --
Roll credits --
The lives of the screenwriters --
The list, from Agee to Zaillian --
Post-credit sequence.
Series Title: Melville manifestos.
Responsibility: David Kipen.
More information:

Abstract:

"In an edgy and funny manifesto, critic David Kipen says, au contraire to the old film school theory that gives all the credit to the director, the auteur theory." "Instead, inspired by "the mother tongue of America's first screenwriters," he uses the Yiddish word for writer to coin The Schreiber Theory, which decrees that knowing who wrote a film is often a far better and more consistent guide to knowing whether a movie is any good."

"Kipen's new heresy topples the old orthodoxy by studying the careers of screenwriters past and present in a witty, two-pronged attack: in part one, he dismantles the auteur theory and presents a convincing argument that screenwriters are the guiding creative geniuses behind the best films. In part two, he offers a compendium of mini-biographies of great screenwriters past and present. Who wrote Casablanca? Who wrote Twelve Monkeys? Who wrote Dead Girls Don't Tango? What else did they write?" "It all makes The Schreiber Theory an engaging read and a one-of-a-kind reference for movie lovers and film students alike."--Jacket.

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