Lake Mann : screenplay development and creative process

Publication Type:
Thesis
Issue Date:
2009
Full metadata record
Files in This Item:
Filename Description Size
Thumbnail01front.pdf299.06 kB
Adobe PDF
Thumbnail02whole.pdf3.84 MB
Adobe PDF
NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- The focus of this thesis is the process as it relates to the re-writing of a creative project. The holding on to a sense of creativity while trying to establish a strong underlying structure and the perceived difficulties associated with the particular form chosen – the multi-protagonist ensemble narrative. The transformation of the creative project from something instinctual and somewhat under-developed to a more considered and developed work; and a tendency to believe that the creative process is instinct based. To quote Glenda Adams paper Inspiring Creativity, ‘Writers don’t really know what to do or how to do it. They are uncertain. Writing a work of fiction can be called a journey toward uncertainty.’ There are two inseparable components of this thesis: the larger creative work, the screenplay Lake Mann, and this, the accompanying exegesis. The screenplay is at the heart of this project, as is the desire to improve and realise the screenplay as a produced film. As such, the project is practice driven, that is, the exegesis and research have at their core the intention to realise the project. The exegesis is intended to be a critical explanation and interpretation of the creative work, especially in the context of its structural improvement, and this process is driven by practice-led research. I have found in my process, that instinct and structure are not mutually exclusive, albeit, they not always comfortable companions. My question in relation to reconciling the two has been answered, with a, qualified, yes; the mechanics of screenwriting and the creative impulse can be reconciled. The qualification, for me being that one affects the other and that I found it useful to separate the two into separate developmental passes at the script with sufficient time in between. While the application of theory to the project has been hugely beneficial, I also understand and admire Wim Wender’s view when he says that some things are subconscious and he wants to keep them that way.
Please use this identifier to cite or link to this item: