The Playwright As Filmmaker
History, Theory and Practice
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This doctoral project was born of the hypothesis that where playwrights have succeeded as film directors, it has been as a result of building on those qualities which make them effective as authors within theatre. After establishing the existence of a substantial body of work by a variety of playwright-filmmakers, I reviewed the literature examining the relationship between theatre and film; then critically assessed the status of the author within film theory, prior to analysing the work of selected playwright-filmmakers (Preston Sturges, David Mamet, Rainer Werner Fassbinder and Neil LaBute),...
This doctoral project was born of the hypothesis that where playwrights have succeeded as film directors, it has been as a result of building on those qualities which make them effective as authors within theatre. After establishing the existence of a substantial body of work by a variety of playwright-filmmakers, I reviewed the literature examining the relationship between theatre and film; then critically assessed the status of the author within film theory, prior to analysing the work of selected playwright-filmmakers (Preston Sturges, David Mamet, Rainer Werner Fassbinder and Neil LaBute), attempting to isolate those aspects of their practice which are attributable to their experience as dramatists. Parallel to this, I attempted to develop a theoretical practice based on what I discovered; a process involving the development of a Dogme -style manifesto, and the production of three short films. I conclude with a discussion of the extent to which every playwright might be considered a potential filmmaker. This book will be of particular value to those with an academic or practical interest in the interface between film and theatre.
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