Issue Details: First known date: 2018... 2018 Urban Girl : Writing the Female Gothic in the Australian Landscape
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'Urban Girl is a creative exploration of the use of metaphor and imagery to create thematic layering in a screenplay by its “power to involve, influence, and instruct by the combination of form and content” (Mehring, 1990). In writing the short romantic comedy, Urban Girl, I explore the love travails of a country girl who works in the city. Maddy is the quintessential successful twenty-something corporate girl. Pretty much an urban cliché. But in the love stakes she’s cactus. To make it worse, every time she rents out her spare room, her flat mate finds love. Determined to sort the problem, Maddy embarks on a one-day makeover of her inner-city apartment. The Feng-Shui way. But she doesn’t reckon with the forces of nature to disrupt her plans. Urban Girl owes its inspirations to the landscape and characters of my country childhood and the image of the female figure in the landscape - urban or rural. In her discussion of the Female Gothic, Eva Rueschmann (2005) notes that the Gothic in the landscape is both “character and metaphor, setting and psychic space” expressing the “colonialization of the land through stories about women who find themselves geographically and psychologically displaced”. In this script, the imagery of the Gothic with its sense of foreboding and entrapment (Davies, 2016) and the lyrics of the over-the-top country music soundtrack, serve as metaphors for how a young woman may be trapped by roles and expectations that thwart her in her quest for true love.

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  • Appears in:
    y separately published work icon TEXT Special Issue Website Series Screenplays as Research Artefacts no. 48 April Dallas J. Baker (editor), Craig Batty (editor), 2018 13995105 2018 periodical issue

    'Here the authors discuss the role of fiction in screenwriting practice research. The screenplays included in the ‘Screenplays as Research Artefacts’ special issue of TEXT present a range of stories, worlds, characters, visual scenarios and dialogue exchanges that function as vessels for theories and ideas. These eleven screenplays all use creative practice approaches to research across a wide variety of discourses. All of the works embrace fiction as an important method to convey their respective critical concerns, which, the authors argue, evidences an emerging hallmark of screenwriting (as) research when compared with associated forms in the creative writing and screen production disciplines: fiction as a staple of its storytelling, creative practice and research methodology. The authors suggest that the use of fiction to perform research and present findings illuminates the ways that knowledge can be affective, not merely textual or verbal, something that is exemplified in the selected screenplays.' ( Craig Batty and Dallas John Baker : introduction) 

    2018
Last amended 28 Aug 2024 12:21:19
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