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The Limits of the Character Arc in Romance narratives.
The aim of this practice led research is to test the form of the character arc narrative form within a practise model comprising of an original cinematic screenplay. The character arc is ubiquitous in screenwriting terminology, but there is as yet no clear definition of the form and how it operates in isolation to many other screenwriting craft components and theoretical paradigms. The term character arc is adopted by Mckee (1998) and acknowledged as the same by Christopher Vogler (1992) but there is no consensus on the term itself. Dara Marks (2009) uses the term ‘transformational arc’ and is careful not to use the term character arc, although she does use the term ‘arc of character’ (Marks, 1009, p. 169) rather than her preferred term transformational arc. Upon scrutiny the transformational arc and character arc amount to the same idea, but it is easy to see how a lack of consensus on the terminology alone, let alone the mechanics of the form, can potentially confuse or confound. Another theorist Steven V. Duncan (2008) states of the form
- Mathews, P., 2015. 'What is this Show About?' The Renaissance of Theme in contemporary Television Drama. In: The Film and History Conference 27-31 October 2014 Madison WI, USA.
- Mathews, P., 2010. Is happily ever after a romance imperative? In: The PC/ACA Conference 31 March-3 April 2010 St. Louis, MO, USA.
- Mathews, P., 2010. All you need is Love In defence of the love story as the dominant form of cinematic storytelling. In: PCA/ACA 8-11 April 2009 New Orleans, USA.
- Mathews, P., 2010. The Bond Girl as Protagonist. In: International Film and History Conference 10-14 November 2010 Milwaukee WI, USA.
Profile of Teaching UG
- Introduction to Scriptwriting
- The Resolved Drama
- Creating Narrative Formats
- Industry Perspectives
- Student Journey Resource (The Centre of Excellence in Media Practice., 05 Oct 2011). Completed
- Script Ease (The Centre of Excellence in Media Practice., 05 Oct 2011). Completed
- Falmouth University, External Examiner (2019-), https://www.falmouth.ac.uk/study/postgraduate/professional-writing
- Falmouth University, External Examiner Validation Panel member (2017-), https://info.flexible.falmouth.ac.uk/falmouth-writing-script-screen-online-sl-0?utm_term=%2Bscreenwriting%20%2Bfalmouth&utm_campaign=PX+%7C+FMOUTH+%7C+Search+%7C+Brand+%7C+Global&utm_source=adwords&utm_medium=ppc&hsa_net=adwords&hsa_tgt=kwd-458018684541&hsa_ad=367874743140&hsa_acc=3583762185&hsa_grp=58964586467&hsa_mt=b&hsa_cam=1429581585&hsa_kw=%2Bscreenwriting%20%2Bfalmouth&hsa_ver=3&hsa_src=g&gclid=EAIaIQobChMIt5_2wefc4wIVAbTtCh0_uApxEAAYASAAEgL1VvD_BwE
- University of Bedfordshire, External Examiner (2016-2019), https://www.beds.ac.uk/howtoapply/courses/undergraduate/next-year/creative-writing
- Bedfordshire University, External Examiner (2015-2019)
- Lincoln University, External Examiner (2010-2013)
- Member, QUASG
- Programme Leader BA (Hons) Scriptwriting for Film and Television, BU
- Undergraduate Framework leader Media Production, BU
- MA in Screenwriting (2000)
- The short Film 'SOFT' which I co-wrote with Director Simon Ellis was nominated for a BAFTA for the Best short film in 2008. (BAFTA, 2008)
- The short Film 'SOFT' which I co-wrote with Director Simon Ellis, won the Audience award at the 2008 Sundance Film Festival. (Sundance International Film Festival, 2008)
- BAFTA, Full Member (2001-2004),
- Creative Skillset BA (Hons) Scriptwriting for Film and Television is accredited by Creative Skillset and I am on their Film Programme Leaders Network Group.