Enunciation and passions in the screenplay text

Abstract

The aim of this paper is to examine the contribution of semiotics to the study of the screenplay. It takes into account how pragmatic semiotics has been used within the recent field of research of Screenwriting Studies in order to explore the level of narrative discourse in a script.
Starting on the premise that, in accordance to the general practice of the Hollywood industry, a screenplay should avoid “telling” in favour of “showing”, the paper highlights that a classification of narrative voices is still possible. Drawing on the analyses by Claudia Sternberg and Ann Igelström, the article argues that calculated use of overt narration accomplishes some important persuasive purposes. In order to be sold, and then produced, a screenplay constructs a Model Reader who is both naïve and critical, feeding two apparently contrasting emotions: the desire of being surprised by the violation of the common writing rules of the industry; the desire of being reassured that the Hollywood writing standards are perfectly applied.