Journal of Screenwriting

(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.)
Cultural influences in screenwriting: Australia vs. Hollywood9
The not so universal hero’s journey8
Russian web series: Mastering the new format4
Serial offenders? Defining the boundaries of series and serial TV for screenwriting practice and theory4
The silent women: The representation of Israeli female soldiers in Israeli women’s films4
Meeting old friends for the first time: A personal reflection on the development of the Screenwriting Research Network3
Screenwriting research in Australia: A truncated (pre)history3
Scouting for scripts: Mizuki Yōko and social issue film in post-war Japan3
Writing inclusive and diverse children’s television: Transgender representation in ABC Australia’s First Day3
Telling Big Little Lies: Writing the Female Gothic as extended metaphor in Complex Television3
Reading the docufiction script: Harnessing the thin line between facts and fiction2
Art in the ‘big print’: An examination and exercises for cinematic prose writing style2
Characters as fictional migrants: Atonement, adaptation and the screenplay process2
TV miniseries or long-form film? A narrative analysis of The Haunting of Hill House2
The strange case of the three-column screenplay format in 1950s Czechoslovakia2
Creativity and the unconscious in the screenwriting classroom: A review of the literature2
Roundtable: Pushing the boundaries of the Screenwriting Research Network2
Battle of the sketches: Short form and feminism in the comedy mode2
Renegotiating the screenplay: Drawing as a method for narrative development in a short film2
The origins of screenwriting practice and discourse in Portugal2
The CVR narrative as a moebius strip12
Spinning and singing: Exploring memory and gender non-conformity through screenwriting for publication first2
‘I wasn’t open to notes’: S. Craig Zahler, Dragged Across Concrete (2018) and the 157-page screenplay2
How we role: The collaborative role-playing poetics of the Secret Story Network1
Bringing queerness to the surface: Truman Capote’s November 1971 screenplay adaptation of F. Scott Fitzgerald’s The Great Gatsby1
Collaborative self-translation in the screenplays of The Godfather trilogy1
Henson and Juhl’s Tale of Sand: From lost archive to graphic novel and illustrated screenplay1
Gun violence, phenomenal reality and parallel worlds: Christina Kallas’s multi-protagonist narratives in The Rainbow Experiment1
Negotiating autobiographical truth: Embodying sensation in the narrative screenplay1
Children’s fiction and anime: The case of Shōkōjo Sēra1
How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage1
The biopic screenplay as a research output: Towards a working definition of narrative fiction filmmaking methodology1
June Mathis: The master class1
The Hakawati’s Daughter: How the Syrian revolution inspired a rewrite1
Writing/performing myself on-screen: Daniel Monks’ memory work on film1
Re-defining the Character Arc through Berger and Luckmann’s The Social Construction of Reality1
Catalysing Elastextity in adaptation screenwriting: The motivic chronotope of liminality1
Rethinking our protagonists: Absence on screen and meta-narratives of empire1
What we cannot see in Sound of Metal and Her Smell: Interplays of awareness, perspective and language in the screenplay text1
Just dancing with ideology? The role of dramaturgs within the socialist mode of children’s film development1
‘Polite, no chill’ for the win: How Emily Andras engaged fans and overcame problematic tropes in Wynonna Earp1
Jenő Janovics: Michel Curtiz’s first screenwriter1
The deliberated decision in children’s mainstream cinema: On socialization in the discourse of freedom1
The 2019 Screenwriting Research Network Conference, Universidade Católica Portuguesa, Porto (11–14 September): A personal reflection1
The post-9/11 American political thriller film: Hollywood’s dissident screenplays1
Fear and wonderment in a limitless world: Learning to write from a child’s point of view1
How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue1
Theme orientation and the inevitable outcome of structural flaws: Investigating the results of the dominance of theme over action in Farhadi’s The Salesman1
The power of schism: Unconventional narrative structure in No Country for Old Men1
Writing for instructional screens: Expanding the scope for screenwriting practitioners1
Piloting audience emotion for the television anti-heroine: Gender and immorality1
Hauntological screenwriting: Reflections on writing Render1
Bryan Fuller’s Hannibal: Cannibalizing the canon1
‘Do animals talk in this dimension? ’Cos I don’t wanna freak anyone out’: Writing for children’s animation1
The case for team-based learning in higher education scriptwriting programmes: A narrative literature review1
Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise?1
In defence of deus ex machina1
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 China1
The Country Boy: Investigating the Dennis Potter Archive, Forest of Dean, England1