Screenplays & Screenwriters
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Why are screenplays and screenwriters not considered worthy of /lit/ but plays and playwrights are?
Do you post this every day?
1. There's already a board devoted to movies and TV.
2. The script isn't the commodity with film—the actual film is.
3. The production isn't the commodity with theatre—the script is.
4. Plays are regularly published and available for study in literature class and have been for centuries (tradition)
5. Stop posting this thread, you dense retard.
>>8070809
>Do you post this every day?
No idea what you're talking about.
>1. There's already a board devoted to movies and TV.
I'm not asking about movies and tv. I asked why film scripts are not considered literature but play scripts are.
>2. The script isn't the commodity with film—the actual film is.
I agree that a lot more than the script goes into making a quality film, but that's the same with a play.
>3. The production isn't the commodity with theatre—the script is.
It's no different than a film.
>4. Plays are regularly published and available for study in literature class and have been for centuries (tradition)
This is probably the answer. Tradition.
>5. Stop posting this thread, you dense retard.
Fuck off, faggot. You aren't the gatekeeper of 4chan.
This.
Now fuck away off.
Because nobody reads screenplays. And why would you when you can just watch the movie? Throughout a lot of history, there were plays written solely to be read, and never actually staged. Screenplays have never been this way. The play was one of the earliest forms of language made into art, but the screenplay is just a tool to mount a story onto film, and it includes a lot of technical codes and terminology that often have industrial rather than aesthetic purposes.
>>8070809
Autism.
>>8070835
>but that's the same with a play.
No, he has a great point with that. Any theater production is essentially one reading of the script. Any given performance is not 'the play' but merely a single interpretation of the script. There can be definitive productions, which might be the classical version of a particular script, but it is difficult to argue that Laurence Olivier's Hamlet is more Hamlet than some modern version. The opposite is true in film. There is only one interpretation of the screenplay and the screenplay exists solely to facilitate that eventual interpretation. The screenplay may even give all the technical direction it can so as to ensure a single interpretation.
