The Palgrave Handbook of Screen Production

lt;p>Professor Craig Batty is Head of Creative Writing at the University of Technology Sydney, Australia, where he specialises in the theory and practice of screenwriting. 

Associate Professor Marsha Berry is a writer and artist, specialising in mobile media practice, at RMIT University, Australia. 

Dr Kath Dooley is a filmmaker, screenwriter and Senior Lecturer at Curtin University, Australia. 

Dr Bettina Frankham is a practice-based researcher in digital media at the University of Technology Sydney, Australia. 

Associate Professor Susan Kerrigan is a specialist in creative industries and screen production research at the University of Newcastle, Australia. 

Collectively, the editors comprise the Research Sub-Committee of the Australian Screen Production Education and Research Association (ASPERA).

Part 1: Conceptualising the screen work: ideas, intentions, contexts.- Chapter 1 Creative filmmaking processes, procedures and practices: Embodied and internalised filmmaking agency.- Chapter 2 Commission, position and production: Intent and intervention in minority language programmes.- Chapter 3 Having something to say and saying it well.- Chapter 4 Understanding the underlying principles of the short film.- Chapter 5 Two screenplays, one writer, national voice.- Chapter 6 Off screen: Re-imagining animation.- Chapter 7 The Dr Egg Adventures: Incorporating user-generated content and user-testing strategies in pre-production conceptualization and development of a multi-platform storyworld.- Chapter 8 Taking place, screening place: Studying locations in television drama production.- Chapter 9 Wayfaring, co-presence and mobility: Conceptualising and re-conceptualising with smartphones.- Part 2:Developing the screen work: collaboration, imagination, distillation.- Chapter 10 Writing bodies: developing and scripting an embodied feature film screenplay.- Chapter 11 Putting theory into practice: Structuring the personal essay documentary, The Silences.- Chapter 12 Work-in-progress: The Writing of Shortchanged.- Chapter 13 Developing Baxter and Me: Maintaining authorial voice against industry pressures.- Chapter 14 Writers, producers and creative entrepreneurship in web series development.- Chapter 15 Local content producers: Co-creating communal stories and community in the Big Stories, Small Towns participatory documentary project.- Part 3: Realising the screen work: practice, process, pragmatism.- Chapter 16 Creative Practice: A Love Story.- Chapter 17 Creating and designing the contemporary soundtrack: A case study.- Chapter 18 The (braided) documentary voice: theorising the complexities of documentary making.- Chapter 19 Editing the observed: Evaluation and value creation processes in the editing of a feature documentary film.- Chapter 20 The beginning of a beautiful relationship: A case study exploration of collaborative creative practice.- Chapter 21 "Make it in post": Digital visual effects and the temporality of creative value in post-production.- Chapter 22 Trapped: A case study of international co-production.- Chapter 23 Production practices in the filming of German scripted reality shows.- Chapter   24 Embracing the TV commercial: Charms and challenges of selling on screen.- Part 4: Exhibiting the screen work: places, spaces, ecologies.- Chapter 25 Producing the other in international film festivals: Festival fund, address and the making of authenticity in Gabriel Mascaro's Neon Bull.- Chapter 26 The Live Cinema paradox: Continuity and innovation in live film broadcast, exhibition, and production.- Chapter 27 Digital disruption and innovation in distribution: Opportunities for research-based filmmaking in the new global screen ecology.- Chapter 28 Dispositifs at play: Artists' moving image in the gallery.- Chapter 29 Mobile reception: Materiality and locality with small screens.- Chapter 30 Appeasing the trolls: Contextualising new screen practices with smartphones.- Part 5: Teaching the screen work: pedagogies, practices, approaches.- Chapter 31 There is no 'e' in 'constraints': Teaching creativity in Higher Education screen production.- Chapter 32 "Is this degree practical or theoretical?" Screen and media education, studio-based teaching and signature pedagogies.- Chapter 33 Teaching screen arts in Australia: Challenges, opportunities and current trends.- Chapter 34 VR and screen education: An approach to assist student understanding of narrative emphasis, spatiality and structural elements within narrative VR.- Chapter 35 Teaching screenwriting through script development: Looking beyond the screenplay.