Part of
Dialogue across Media
Edited by Jarmila Mildorf and Bronwen Thomas
[Dialogue Studies 28] 2017
► pp. 5576
References (34)
References
Allen, James. 2004. “Introduction.” In Games People Play, (40th anniversary ed.), ed. by Eric Berne, 4-7. New York: Ballantine Books.Google Scholar
Aronson, Linda. 2001. Screenwriting Updated: New (and Conventional) Ways of Writing for the Screen. Los Angeles, CA: Silman-James Press.Google Scholar
Batty, Craig, and Zara Waldeback. 2008. Writing for the Screen: Creative and Critical Approaches. Basingstoke: Palgrave Macmillan. DOI logoGoogle Scholar
Berne, Eric. 1947. The Mind in Action. New York: Simon and Schuster.Google Scholar
. 1961. Transactional Analysis in Psychotherapy. New York: Grove Press.Google Scholar
. 1964. Games People Play. New York: Ballantine Books.Google Scholar
Blake, Marc. 2011. How Not to Write a Sitcom: 100 Mistakes to Avoid If You Ever Want to Get Produced. London: A&C Black.Google Scholar
Brassed Off. 1996. Scr./Dir. Mark Herman. UK/US: 107 mins.
Chinatown. 1974. Scr. Robert Towne, Dir. Roman Polanski. US: 130 mins.
Corey, Gerald. 2009. “Theory and Practice of Counseling and Psychotherapy.” 8th ed., available at: [URL] [Accessed 5 August 2015].Google Scholar
Halperin, Michael. 2000. Writing the Second Act: Building Conflict and Tension in Your Film Script. Studio City, CA: Michael Wiese Productions.Google Scholar
Harris, Thomas. 1969. I’m OK – You’re OK, New York: Harper and Row.Google Scholar
Hay, Julie. 2009. Transactional Analysis for Trainers. 2nd ed. Hertford: Sherwood Publishing.Google Scholar
House. 2004-2012. Cr. David Shore, Dir. Various, US.
Hunter, Starling, and Susan Smith. 2013. “Thematic and Lexical Repetition in a Contemporary Screenplay.” Open Journal of Modern Linguistics 3 (1): 9-19. DOI logoGoogle Scholar
Indick, William. 2004. Psychology for Screenwriters: Building Conflict in Your Script. Studio City, CA: Michael Wiese Productions.Google Scholar
Igelström, Ann. 2013. “Communication and the Various Voices of the Screenplay Text.” Journal of Screenwriting 4 (1): 43–56. DOI logoGoogle Scholar
. 2014. “Narrating Voices in the Screenplay Text: How the Writer
Can Direct the Reader’s Visualisations of the Potential Film.” In Screenwriters and Screenwriting: Putting Practice into Context, ed. by Craig Batty, 30-45. Basingstoke: Palgrave Macmillan. DOI logoGoogle Scholar
International Transactional Analysis Association. n/d. available at: [URL] [Accessed 11 May 2015].
Kozloff, Sarah. 2000. Overhearing Film Dialogue. Berkeley: University of California Press.Google Scholar
Life on Mars. 2006-2007. Crs. Matthew Graham, Tony Jordan and Ashley Pharoah, Dir. Various, UK.
Price, Steven. 2010. The Screenplay: Authorship, Theory and Criticism, Basingstoke: Palgrave Macmillan.Google Scholar
Pulp Fiction. 1994. Scr./Dir. Quentin Tarantino. US: 154 mins.
Richardson, Kay. 2010. Television Dramatic Dialogue: A Sociolinguistic Study, Oxford: Oxford University Press. DOI logoGoogle Scholar
Steiner, Claude. 1974. Scripts People Live. New York: Grove Press.Google Scholar
Steptoe and Son. 1962-1974. Crs. Ray Galton and Alan Simpson. Dir. Various, UK.
Stewart, Ian, and Vann Joines. 1987. TA Today: A New Introduction to Transactional Analysis. Nottingham: Lifespace.Google Scholar
Stewart, Ian. 1989. Transactional Analysis Counselling in Action. London: Sage.Google Scholar
Sunshine Cleaning. 2008. Scr. Megan Holley, Dir. Christine Jeffs. USA: 91 mins.
Transactional Analysis Journal. available at: [URL] [Accessed 5 August 2015].
True Romance. 1993. Scr. Quentin Tarantino, Dir. Tony Scott. US: 120 mins.
Waldeback, Zara, and Craig Batty. 2012. The Creative Screenwriter: Exercises to Expand Your Craft. London: Methuen.Google Scholar
White, Glyn, and John Mundy. 2012. Laughing Matters: Understanding Film, Television and Radio Comedy. Manchester: Manchester University Press.Google Scholar
Wolfe, Ronald. 2003. Writing Comedy: A Guide to Scriptwriting for TV, Radio, Film and Stage, London: Robert Hale.Google Scholar