How Long Does Extinguisher Hydro Good For

Notes on Writing, and an invitation to visit the Script, Frank Baiz Quevedo

Some time ago I participated in a blog discussion of the Venezuelan Film Filmmaker Carlos Caridad Montero, Blogacine, which is talking about the news of the creation of a Software to the "structure and scripting in Venezuela , Professor Frank Baiz Quevedo, her-by then-future Software Type . Participation in this discussion led to a vigorous debate that dealt, among other things, on the possibility that computers replace human intellect in the literary ... In researching Professor Baiz Quevedo, I realized that this humble Editor had dared to engage in a discussion on extrapolations of language, cybernetics and communication, with a degree in Mathematics, Graduate in London., who has dedicated his life to developing strategies and capacity analysis Screenplay, who also was kind enough not to treat this as a microbe editor viewed from a microscope, even from the heated discussion and correspondence.

and also allowed me to discover that the web spaces developed by Professor Frank Baiz Quevedo, there is a wealth of references, reviews, tutorials and books on screenwriting Digital ...

Written by the same teacher Quevedo, who perhaps are an attractive literature to our visual arts students ... of which, prior authorization Professor Quevedo, share a brief selection of these from "The page of the Script "

http://www.lapaginadelguion.org/

First, this is the book "La Ventana impossible "( Fundarte, Caracas. 1993), which can be found in some libraries and booksellers jobs of our capital, but can also be read in full in the pages of the script:

http://www.lapaginadelguion.org/mirada.htm

Character Building
Writing and analysis of action
Triangles and conflicts
laws and whims
Some models indent construction
from history to discourse
Bibliography
Notes

addition

the previous text, a curious explorer find other publications Venezuelan labor Frank Baiz Quevedo

http://www.lapaginadelguion.org/instru.htm

INTRODUCTION
Write images.

CHAPTER 1: THE STRUCTURE
The structure need
narrative semiotics
structural models screenplay

CHAPTER 2: THE CHARACTER
The round character
The character in action

constellations of characters in conflict The character

BIBLIOGRAPHY

http://frankbaizescriba.blogspot.com/

http://frankbaiz.blogspot.com/

from other large and well developed articles on theory, technique and practice of script, and dramatic analysis and film, script page also offers large and well-stocked bibliography of the script, in which we can find some texts that are beginning to recommend in our studies visual arts:

http://www.lapaginadelguion.org/gbiblio.htm

[WIDE READING ON THE SCRIPT]

Alonso de Santos, José Luis (1998) dramatic writing, Madrid: Editorial Castilla.

Aristotle (1982) Poetics direct version, introduction and notes by García Bacca, Juan David, Caracas: Ediciones de la National Library of the Universidad Central de Venezuela.

Baiz Quevedo Frank (1994) window impossible Caracas: Fundarte. ____________________(
1997) Analysis of film and dramatic construction , Caracas: Litterae) ____________________(
1998). New tools for scriptwriting , Caracas: National Film Foundation. ____________________(
1999). "The cinema dialogue: a pragmatic approach" in Hundred Years of Cinema: History, Theory and analysis of film form de Castro de Paz JL, P. Couto Cantero and JM Paz Gago (eds.), Madrid: Visor, 1999. ____________________(
2004) "From paper to light: literary character and film character" In The character and text in cinema and literature (Baiz Quevedo Frank (Ed.), Caracas: National Film and Comala.com Foundation .

Barthes, R . (1966) "Introduction à l'Analyse structurale des recits" Communications, 8, 1-27 [in English in Structural analysis of the story, Madrid: Ediciones Buenos Aires, 1982].

BENTLEY, Eric . (1964) life drama, Mexico: Polity Press.

BERNE, Eric . (1976) Beyond games and scripts . New York: Ballantine Books.

Bettetini, Gianfranco. (1985) The audiovisual conversation. Madrid: Cátedra.

BISHOP, Leonard. (1988) Dare to Be a great writer , Cincinnati: Writers Digest Books.

D. WHITE and R. Well. (1980) semiotic analysis methodology , Lima: Editorial Universo SA, University of Lima.

Bobes Naves, María del Carmen. (1987) Semiology of the play. Madrid: Taurus.

Bordwell, D. (1979) Film Art: an introduction , Massachusetts: Addison Wesley.
______________ (1985) Narration in the fiction film , Madison: The University of Wisconsin Press.

BRENES, Carmen Sofia. (1987) Fundamentals audiovisual script, Pamplona: Universidad de Navarra.

BRADY, Ben L. LEE. (1988) The understructure or writing for film & television , Austin: University of Texas Press

Bremond, C . (1966) "Logique des possibles narratifs" Communications, 8.60 to 67. [In English: "Logic of possible narratives" in Structural Analysis story Madrid: Ediciones Buenos Aires, 1982]. _____________(
1973) Logique du récit . Paris, Seuil.

Burgoyne, Robert. (1986) "The interaction of text and semantic deep structure in the production of filmic characters," Iris, 7, 69-80.

CAMPBELL, Joseph. (1997) The Hero with a Thousand Faces , Buenos Aires: Fondo de Cultura Economica.

Casetti, F. and di Chio, F. . (1990) film Analisi, Milano: Bompiani [In English: How to Analyze a Film , Barcelona: Polity Press, 1991).

CASTILLA DEL PINO, Carlos. (1989) "The construction of self and character sobreconstrucción" in character Theory of Castilla del Pino, Carlos (Comp.), 1-38, Madrid: Alianza Editorial.

CARRIERE, Jean-Claude and Pascal Bonitzer. (1991) Practice screenplay, Barcelona: Polity Press.

Chatman, Seymour. (1978) Story and Discourse : narrative structure in fiction and film , New York: Cornell University Press.

Chion, Michel. (1985). Ecrire a Scénario , Paris, Cahiers du Cinéma.

CLARENCE W. (1962). The screenplay , Buenos Aires: Fontana.

Comparato, Doc (1997) How to write the screenplay for film and television , Mexico: Planeta.

Cooper, Dona. (1994) Writing great screenplays for film and TV. New Yok: Macmillan.

Cucco, Antoine. (1980). L'écriture du Scénario , Paris: Editions Dujarric.

Cucco, Antoine and Paola Foti . (2001) La création des personnages, Paris: Editions Dujarric.

DÍEZ BORQUE, José María. (1989) "Notes on the critical character in the English comedy of the Golden Age," Theory of the character of Castilla del Pino, Carlos (Comp.), 97-120, Madrid: Alianza Editorial.

DUKORE, Bernard. (1973) Dramatic Theory and Criticism, Honolulu: University of Hawaii.

DUCROT O. T. Todorov et (1986) Encyclopedic Dictionary of Language Sciences . Madrid: Twenty-First Century.

Egri, Lajos. (1960) The Art of Dramatic Writing , New York: Simon and Schuster.

CORD, Luis. (1979) Technical screenplay, La Paz: Don Bosco.

FIELD, Syd. (1976) Screenplay , New York, Dell.
__________( 1984) The Screenwriter workbook , New York, Dell.

FORNET, Ambrose. (comp) (1988) writer and his craft , La Habana: International School of Film and Television.

FORSTER, EM (1927) Aspects of the novel , New York: Harcourt Brace & Company.

Froug, William. (1992) Screenwriting Tricks of the trade , Los Angeles: Silman-James Press.

Genette, Gérard. (1972). Figures III . Paris: Seuil [In English: Figures III. Barcelona: Lumen, 1989].

Gamerro, Carlos and Paul Solomon. (Compilers) (1993) Before the film: the place of the script , Buenos Aires: La Marca Editora.

Gaudreault, A. (1989) Du littéraire au filmique: système du récit, Paris: Klincksieck Méridiens.

GARCÍA JIMÉNEZ, Jesus. (1993) Narrative audiovisual, Madrid: Cátedra.

GARCIA LORENZO, Luciano. (ed.) (1985) The dramatic character, Madrid: Taurus.

Giannetti, Louis. (1972) Understanding movies , New Jersey: Prentice-Hall.

Greim, AJ (1966) sémantique structurale, Recherche de Méthode . Paris: Libraires Larousse.

Greimas, AJ and Court. (1979) Sémiotique, dictionnaire raisonné of théorie du langage, Paris: Hachette.

GUTIERREZ ESPADA, Luis. (1978) Narrative Film, Madrid: Piramide.

GODDARD, Lourdes Adame. (1989), Scriptwriting , Mexico: Editorial Diana.

Goffman, Erving. (1959) The presentation of self in everyday life , New York: Doubleday & Company [In English: The Presentation of Self in everyday life , Buenos Aires: Amorrortu].

Greim, AJ (1966) sémantique structurale. Paris: Larousse [In English: Structural Semantics , Madrid: Gredos, 1976].

GOVERNMENTAL. R. (1994) Film History , Barcelona: Lumen.

HAAG, J. (1980) The complete guide to standard script formats , California: R. Cole Jr. CMC Publishing.

HAMON, PHILIPPE (1977) "Pour un statut du personnage sémiologique" Narrative in Poétique , Paris: Éditions du Seuil, 115-180.

HORTON. ANDREW. (1994). Writing the character-Centered Screenplay . (Los Angeles: University of California Press).

HOWARD LAWSON, John. (1963) theory and technique of the screenplay , La Habana: ICAIC.
______________________ (1976) Theory and Technique of the drama. Havana: Instituto Cubano del Libro.

Huddle, David. (1989) The writing habit , Hanover: University Press of New England.

Hunter, Lew. (1993) Lew Hunter's Screenriting 434, New York: Putnam.

IZAGUIRRE, E . (1966) Technical literary drama, Mérida: Talleres Gráficos Universitarios.

JARVIS, Eloise. (1979). Techniques of fiction writing , Boston: The Writer Inc.

JENN, Pierre. (1991) Techniques du Scénario . (Paris: Femis).

JOST, François. (1987) L'oeil-Caméra : entre film et roman, Lyon: Presses Universitaires.

KARETNIKOVA, Inga. (1990), How scripts are made, Illinois: Southern University Press.

KING, Viki. (1988). How to write a movie in 21 days , New York: Harper and Row.

LEE, John, (1994) Writing from the body , New York: St Martin’s Press.

KOSBERG, R . (1991) How to see you idea to Hollywood, New York: Harper.

McKEE, Robert. (1991) 1991. Taller Screenplay, Barcelona 11 to 13 January. Reference texts. Mimeographed material. ______________(
1997) Story: Substance, structure, style, and the Principles of screenwriting , New York: HarperCollins.

MATRAZZO, Donna. (1989) The script: elements, formats, structures , Mexico, Alhambra.

Mourgue, Nicole (1988) Le nom du personnage filmique , Iris, 8, 55-69.

MARTY, MARTY C Robert et . (1995) 99 réponses sur la Sémiotique , Montpellier: Centre Régional de Documentation pédagogique [In English: Semiotics: 99 responses. Buenos Aires: Universidad Edicial].

Onaindia, Mario. (1996) The classic Hollywood script , London: Polity Press.

PAVIS, Patrice. (1980) Dictionnaire du Théâtre . Termes et concepts de l'analyze théâtral , Paris: Editions Social [In English: Dictionary of Theatre: drama, aesthetics, semiotics , Barcelona: Polity Press, 1983].

MELANIE A. PHILLIPS & CHRIS HUNTLEY. (1996) Dramatica, a new theory of story , California: Screen System Incorporated.

POPE, Thomas. (1998) Good Scripts, Bad Scripts , New York: Three River Press.

Prada Oropeza, Renato. (1989). "The status of the character in today Narratology Renato Prada Oropeza (Comp.), La Habana: Arte y Literatura.

Propp, Vladimir. (1965) Morphologie du conte, Paris: Seuil [In English: Morphology of the Folktale , Madrid: Fundamentos, 1977).

Sadoul, G . (1991) history of world cinema. Madrid: Siglo XXI.

Seger, Linda. (1990) Creating unforgettable characters, New York: Henry Holt and Company. ____________(
1991) How to turn a good script in an excellent script. Madrid: Rialp.

STEINER, Claude. (1975) Scripts people live, Bantam Books: New York.

STRACZVNSKI, J. Michel. (1982) The complete book of scriptwriting , Cincinnati: Writers Digest Books.

Swain, Dwight. (1982) Film scriptwriting, Boston: Focal Press.

TOMASI, DARIO. (1988) Cinema and storytelling: The character, Turin: Loescher Editore.

Torok, Jean-Paul. (1986) Le Scenario , París: Artefact.

Tudor Eliade. (1981) Les secrets de l 'adaptation , Paris: Dujarric.

ÜBERSFELD, Anne. (1989) Semiotics Theatrical Madrid: Cátedra.

VALE Eugene. (1985) Técnicas the script for film and television, Barcelona: Gedisa.

Vanoy, Francis. (1979) écrit Narrative - Narrative filmique . Paris: Cedice.
_______________( 1991) Scenarios model "Scenario (Paris: Nahan).

Vogler, Christopher. (1998) The writer's journey: mythic structure for writers , Los Angeles: Michael Wiese Productions.

Vilches, Lorenzo. (ed.) writing workshop for film , Barcelona: Gedisa.

VERNET, Marc . (1986) "Le personnage film" Iris, 8, 81-110.

WALTER, Richard. (1988) Screenwriting: the art, craft and business of film and television writing , New York: Penguin.

ZERAFFA, Michel. (1971) Personne et personnage . Paris: Klincksieck.

In this vast literature, we begin to share in this space three texts:

Aristotle Poetics