OOIR: Observatory of International Research

Papers

(The TQCC of Journal of Screenwriting is 1. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 500 papers]. The publications cover those that have been published in the past four years, i.e., from 2019-10-01 to 2023-10-01.)

Article	Citations
Cultural influences in screenwriting: Australia vs. Hollywood	9
The not so universal hero’s journey	8
Russian web series: Mastering the new format	4
Serial offenders? Defining the boundaries of series and serial TV for screenwriting practice and theory	4
The silent women: The representation of Israeli female soldiers in Israeli women’s films	4
Meeting old friends for the first time: A personal reflection on the development of the Screenwriting Research Network	3
Screenwriting research in Australia: A truncated (pre)history	3
Scouting for scripts: Mizuki Yōko and social issue film in post-war Japan	3
Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day	3
Telling Big Little Lies: Writing the Female Gothic as extended metaphor in Complex Television	3
Reading the docufiction script: Harnessing the thin line between facts and fiction	2
Art in the ‘big print’: An examination and exercises for cinematic prose writing style	2
Characters as fictional migrants: Atonement, adaptation and the screenplay process	2
TV miniseries or long-form film? A narrative analysis of The Haunting of Hill House	2
The strange case of the three-column screenplay format in 1950s Czechoslovakia	2
Creativity and the unconscious in the screenwriting classroom: A review of the literature	2
Roundtable: Pushing the boundaries of the Screenwriting Research Network	2
Battle of the sketches: Short form and feminism in the comedy mode	2
Renegotiating the screenplay: Drawing as a method for narrative development in a short film	2
The origins of screenwriting practice and discourse in Portugal	2
The CVR narrative as a moebius strip1	2
Spinning and singing: Exploring memory and gender non-conformity through screenwriting for publication first	2
‘I wasn’t open to notes’: S. Craig Zahler, Dragged Across Concrete (2018) and the 157-page screenplay	2
How we role: The collaborative role-playing poetics of the Secret Story Network	1
Bringing queerness to the surface: Truman Capote’s November 1971 screenplay adaptation of F. Scott Fitzgerald’s The Great Gatsby	1

Collaborative self-translation in the screenplays of The Godfather trilogy	1
Henson and Juhl’s Tale of Sand: From lost archive to graphic novel and illustrated screenplay	1
Editorial	1
Gun violence, phenomenal reality and parallel worlds: Christina Kallas’s multi-protagonist narratives in The Rainbow Experiment	1
Negotiating autobiographical truth: Embodying sensation in the narrative screenplay	1
Children’s fiction and anime: The case of Shōkōjo Sēra	1
How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage	1
The biopic screenplay as a research output: Towards a working definition of narrative fiction filmmaking methodology	1
June Mathis: The master class	1
The Hakawati’s Daughter: How the Syrian revolution inspired a rewrite	1
Writing/performing myself on-screen: Daniel Monks’ memory work on film	1
Re-defining the Character Arc through Berger and Luckmann’s The Social Construction of Reality	1
Catalysing Elastextity in adaptation screenwriting: The motivic chronotope of liminality	1
Rethinking our protagonists: Absence on screen and meta-narratives of empire	1
What we cannot see in Sound of Metal and Her Smell: Interplays of awareness, perspective and language in the screenplay text	1
Just dancing with ideology? The role of dramaturgs within the socialist mode of children’s film development	1
‘Polite, no chill’ for the win: How Emily Andras engaged fans and overcame problematic tropes in Wynonna Earp	1
Jenő Janovics: Michel Curtiz’s first screenwriter	1
The deliberated decision in children’s mainstream cinema: On socialization in the discourse of freedom	1
The 2019 Screenwriting Research Network Conference, Universidade Católica Portuguesa, Porto (11–14 September): A personal reflection	1
The post-9/11 American political thriller film: Hollywood’s dissident screenplays	1
Fear and wonderment in a limitless world: Learning to write from a child’s point of view	1
How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue	1
Theme orientation and the inevitable outcome of structural flaws: Investigating the results of the dominance of theme over action in Farhadi’s The Salesman	1
The power of schism: Unconventional narrative structure in No Country for Old Men	1
Writing for instructional screens: Expanding the scope for screenwriting practitioners	1
Piloting audience emotion for the television anti-heroine: Gender and immorality	1
Hauntological screenwriting: Reflections on writing Render	1
Bryan Fuller’s Hannibal: Cannibalizing the canon	1
‘Do animals talk in this dimension? ’Cos I don’t wanna freak anyone out’: Writing for children’s animation	1
The case for team-based learning in higher education scriptwriting programmes: A narrative literature review	1
Editorial	1
Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise?	1
In defence of deus ex machina	1
The dramatization of the shepherd warrior in Christopher Marlowe’s Tamburlaine and the Jordanian drama Bedouin series Rās Ghlaiṣ (‘The head of Ghlaiṣ’)	1
The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives, Lajos Egri (1972)	1
Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China	1
The Country Boy: Investigating the Dennis Potter Archive, Forest of Dean, England	1