Writing Bodies: Developing and Scripting an Embodied Feature Film Screenplay

Abstract

A number of researchers (Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham/London: Duke University Press, 2000; Shaviro, The Cinematic Body. Minneapolis: University of Minnesota Press, 1993; Sobchack, Carnal Thoughts: Embodiment and Moving Image Culture. Los Angeles: University of California Press, 2004; Williams, Hard Core: Power, Pleasure, and the “Frenzy of the Visible”. Berkeley: University of California Press, 1999) have considered cinema’s ability to affect the viewer on a bodily level. This chapter explores the question of whether the seeds of an affective cinema experience can be sown in the film screenplay. I will explore approaches to writing the body with reference to the initial developmental stages of my unproduced feature film, tentatively titled Fireflies, as case study. Fireflies presents the fictional story of two teenage girls who use a social media application to meet with unknown male partners. In writing the script, I hoped to produce a narrative that takes the characters’ bodily experiences as its main concern. Moreover, in writing Fireflies I seek to explore the way in which the screenplay itself may give rise to an affective experience. My creative research in this area is concerned with the way that screenplay language may be used to explore and express corporeal themes, and consequently create a visceral experience for the reader. The early development of Fireflies (2015–2016) involved actor/director workshops and the production of short audio-visual works as a means to generate ideas and to explore character and theme. Using reflective practice, I will discuss my attempts to translate the material generated through these experiences into words on a page. In doing so, I focus on an expression of corporeal themes through the inclusion of affective elements related to colour, light, sound, movement and texture.

Appendix: Fireflies: Long Synopsis

Paris and Bianca are two 16-year-old school friends who amuse themselves with random dating experiences sourced through social media. Full of bravado and confidence, Paris leads the activity, appearing to seek physical contact without emotional ties; however, she secretly harbours a desire to rekindle a relationship with an ex-boyfriend, Brad. The more reserved Bianca is Paris’ fan and follower and she frequently finds herself outside of her comfort zone as a result. Bianca suffers from debilitating panic attacks when in situations of stress. Paris is dismissive of these problems, focusing only on her own wants and needs.

When Brad humiliates Paris in front of her peer group at a party, she retaliates by trashing his personal property. In the process, she discovers a bag of amphetamines that she steals and plans to sell. Fuelled by alcohol and amphetamines, Paris and Bianca head into the city to make the deal.

Whilst waiting for the exchange to take place, Paris sets Bianca up on a date with an unknown male named Sam. Surprisingly, Bianca and Sam hit it off. In the process, they also meet Rohan, Sam’s narcissistic and dominating older cousin, who takes an interest in Paris. Seeking the upper hand in her association with Rohan, Paris slips two of her pills into Rohan’s drink. The results are disastrous: Rohan begins to convulse and it is clear that his life is in danger. Paris blames the situation on Bianca, lying to Sam and the paramedics who attend the scene. This action sends an angry and panicked Bianca into meltdown. She flees the scene, and accidentally injures herself whilst alone. Despite her physical injuries, however, Bianca is finally able to break away from her destructive relationship with Paris.