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Stephen Sculley Stephen Sculley i(8643604 works by)
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1 The Screenwriting PhD : Creative Practice, Critical Theory and Contributing to Knowledge Craig Batty , Kathryn Beaton , Stephen Sculley , Stayci Taylor , 2017 single work criticism
— Appears in: TEXT Special Issue Website Series , no. 44 2017;

'This article explores ‘the exegesis now’ from the perspective of the screenwriting practice PhD. Using as a playful homage to traditional screenplay structure, the archetypal Hero’s Journey, it maps the landscape and offers examples of how the screenwriting exegesis/dissertation is occurring at RMIT University. This includes a comedy feature film about gender and perspective; a multiple-protagonist feature film set in the world of avid Doctor Who fans; and a hybrid form, the screen novel, set in the politically corrupt world of contemporary Melbourne transport infrastructure. Guided by their supervisor ‘mentor’, two candidates and one recent graduate embark on a collaborative journey that probes, prods, prises open and proposes what the screenwriting practice PhD can do and look like, and by doing so raise important points about the purpose and form of the dissertation. Collectively, the authors assume the simultaneous roles of the candidate who is doing, completing and has completed; the experienced supervisor; and the in-training supervisor.' (Publication abstract)
1 Stringer : Episode 1 : A Television Novel Stephen Sculley , 2015 single work drama
— Appears in: TEXT Special Issue Website Series , April no. 29 2015; 'Chris Stringer is an investigative journalist who has been duped into doing a story, which conceals the identity of a murderer. In attempting to find the truth, he is dragged into a web of business and political corruption. Stringer is a six-part television novel with each chapter being a one-hour episode. Episode 1 establishes the key characters and the core dramatic question; who killed Gary Morley? Stringer uses a novelistic approach to develop a multi-episode high-end television drama. This prose text utilizes literary, cinematic and theatrical elements inherent within the high-end format to present multiple storylines and complex characterisation. Through the creative writing process Stringer extends the traditional skeletal approach to series development by framing the drama as a television novel. The outcome for this approach is twofold; firstly as a way of developing a high-end narrative with complex characters, themes and counter themes and secondly as a new way of valuing the work of the screenwriter by removing it from the industrial hierarchy of current script development and retaining the screenwriter’s original authorial voice in book form.' (Publication abstract)
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