Missing Media
Where are all the Latin American films?I wrote it as a screenplay rather than a report. The subject is film, so the argument is set in the format a film starts in. It also lets two voices share a page. My own memory of watching films sits next to academic research, and neither has to sound like the other.
The publication runs as a three-act screenplay. Act I is where the question came from, Act II is the research on globalisation and subtitling, and Act III is South Korea as a case study in a cinema that did break through. A prologue opens it, a resolution closes it, and the bibliography is set as credits.
Screenplay conventions do the work that headings, pull quotes and block citations would do in a report. Research quotes are set as dialogue, so the people I cite speak on the page instead of sitting in footnotes. The screenplay sets the shape of the argument, not just the look of it.
The featured works page at the front lists every film in the publication as a cast list, credited to its director.
It is A4, printed on a matte stock slightly heavier than copier paper. The covers are red cardstock, punched twice and fastened with gold-plated brass binding screws. This is how production scripts have been bound for decades, and it was the detail I most wanted to get right.
The cardstock takes wear quickly. The covers hold a fold from being opened, and the printed text has picked up small scratches and chips. Scripts are made to be handled, so the copy looks more like itself the more it gets read.
The wordmark is blocky and heavy, sitting against the typewriter text rather than matching it. The cover also carries the Luz Latina Film Co. imprint line, which places the publication inside the film festival identity I built alongside it.
I art directed and shot the photography in a studio, and left the studio in the shot. Softboxes, stands, tables and seamless backdrops are all visible in frame. The object is photographed inside the equipment and surfaces of a working studio rather than on a clean surface.
Every frame has hands in it. The script is held, opened and flicked through rather than laid flat.