NO FULL TEXT AVAILABLE. This thesis contains 3rd party copyright material. ----- Throughout the history of the cinematic medium, writing for film has been dominated by exclusionary and standardised practices, most broadly by the Conventional, or (Hollywood) Academy SCREENPLAY. Despite, or perhaps owing to the infancy of the film-script and its respective medium more generally, the hegemonic form of the SCREENPLAY nevertheless crystallised by the 1980s for reasons of historical, monetary, or logistical expediency, staking claim over the full potential range of approaches to writing for film; over all that “writing”, generative interactions “for” begetting another form (the film), and over all that “film” might include, involve, or yet imagine. This thesis argues the renewed and broadly unrealised potential of writing for film on the basis of, and marks a return to, the ruin-scape and construction site of the cinematic unbuilt, theorising the potential space of the open form of the cinematography scenario. In view of the possibilities opened to and by the scenario so theorised, it is not the bizarre nature of paradoxical forms, aberrant motions, and imperceptible forces of manifestation, trans-conveyance, and becoming which prove unresolvable to the cinematographic conception of the scenario. As will be shown, these evidently belong to its ontological nature. Rather, what will appear incommensurable are the extraneously adopted conventions, the limitations of genres of content they imply, and the logistical-economic exceptionalism of singular historical forms, all of which are unfounded in the cinematic medium, yet have come to encircle and occupy it. In the wake of this theoretical excavation, in which is facilitated the collocation of the thoughts of exhumed early practitioners and theorists of (most notably: Andre Bazin – Robert Bresson – Andrei Tarkovsky), the realm of the unbuilt film is returned to its ontological status, unbuilt; in the scenario, the film-script is returned to dreaming.