If written screenplay allowed the apogee of the classic Hollywood cinema and the great moments of dialogue of the French cinema, the tradition to write previously what will be filmed also gave rise to closed narratives based on psychological identification, in the Aristotelian model. These narratives already carry the solution of their own problems, thus inhibiting any didactic relation between the spectators and the movie. Analyzing Screenplay from the film Passion (Godard, 1981), constructed with images and sound, we assess the contributions of this type of writing to an active participation of the spectators in the film text. We also evaluate the results of a screenwriting workshop inspired in the Godardian pedagogy.
Screenplay; Cinema pedagogy; Godard; Experimental film; Screenwriting workshop