Steven Price, MA, PhD
- Steven Price
- +44 (0)1248 382107
- Room 310, New Arts
Screenwriting, film, drama, English and American literature. I am particularly interested in working with postgraduates who wish to study screenwriting, post-war American drama, Harold Pinter, storyboarding, and other intersections of textual and other media.
Until recently my principal field of research interest has been in contemporary British and American drama. Increasingly, the most prominent figures in this area have moved into other fields, often simultaneously, and I have begun to examine the relationships between the dramatic writings and work in other fields. For example, I have looked at Harold Pinter’s drama in the context not only of his political writings but of current debates in jurisprudence; David Mamet’s work in theatre now needs to be considered as merely one strand of a career in which his achievements in screenwriting and in film direction arguably have equal status.
Partly as a result, I have become especially interested in the peculiar status of the screenplay text. This has never been regarded as ‘literature’, despite the prolific production of screenplays by major writers, the significant expansion in screenplay publication in recent decades, the development of screenwriting into a mainstream discipline in universities in the UK and the US, and the quite different status of the theatrical play text. Accordingly I have recently been working on two substantial projects. The first is an analysis of its textual properties, and the critical and ideological bases for its continuing marginalisation as an object of academic study. This was published as The Screenplay: Authorship, Theory and Criticism in 2010. The second, A History of the Screenplay, was published in 2013. Storyboarding: A Critical History, co-authored with Chris Pallant, will be published in late 2015.
Storyboarding: A Critical History (with Chris Pallant) (Basingstoke: Palgrave). In preparation, publication date 2015.
A History of the Screenplay (Basingstoke: Palgrave, 2013): ‘a fascinating study and sure to set a benchmark in our understanding of the conventions of screenwriting’: David Bordwell (http://www.davidbordwell.net/blog/2014/05/18/caught-in-the-acts-2/)
‘A Short History of Wilde’s Salome.’ In Kerry Powell and Peter Raby (eds), Wilde in Context (Cambridge: Cambridge University Press, 2013), pp. 328-36.
‘“The Illusion of Proprietorship”: Tom Stoppard’s Parade’s End.’ In William Baker (ed.), The Real Thing: Essays in Celebration of Tom Stoppard’s 75th Birthday (Newcastle: Cambridge Scholars, 2013), pp. 120-34.
‘The Screenplay: An Accelerated Critical History’, Journal of Screenwriting 4.1 (2013), pp. 87-97.
‘The First Screenplays? American Mutoscope and Biograph Scenarios Revisited’, Journal of Screenwriting 2.2 (2011), pp. 195-214.
‘Salome on Sunset Boulevard.’ In Refiguring Oscar Wilde’s Salome, ed. Michael Y. Bennett (Amsterdam: Rodopi, 2011), pp. 257-73.
The Screenplay: Authorship, Theory and Criticism (Basingstoke: Palgrave, 2010). Shortlisted for the Richard Wall Memorial Award, Theatre Library Association, 2011.
‘Character in the Screenplay Text.’ In Analysing the Screenplay, ed. Jill Nelmes (New York: Routledge, 2010), pp. 201-16.
‘Televisuality in the Films of David Mamet’. In Crossings: David Mamet’s Work in Different Genres and Media, ed. Johan Callens (Newcastle: Cambridge Scholars, 2009), pp. 49-60.
The Plays, Screenplays and Films of David Mamet (Basingstoke: Palgrave, 2008).
‘Fifteen-Love, Thirty-Love: Edward Albee’, in A Companion to Twentieth-Century American Drama, ed. David Krasner (Oxford: Blackwell, 2005), pp. 247-62.
‘On Directing Mamet’, in The Cambridge Companion to David Mamet, ed. Christopher Bigsby (Cambridge: Cambridge University Press, 2004), pp. 154-70.
‘Harold Pinter Before the Law’, in The Art of Crime: The Plays and Films of Harold Pinter and David Mamet, ed. Leslie Kane (New York: Routledge, 2004), pp. 55-69.
‘Disguise in Love: Gender and Genre in House of Games and Speed-the-Plow’, in Gender and Genre: Essays on David Mamet, ed. Christopher C. Hudgins and Leslie Kane (New York: Palgrave, 2001), pp. 41-59.
Wilde: Salome, with William Tydeman, (Cambridge: Cambridge University Press, 1996)
‘Negative Creation: The Detective Story in Glengarry Glen Ross’, in David Mamet’s ‘Glengarry Glen Ross’: Text and Performance, ed. Leslie Kane (New York: Garland, 1996), pp. 3-17.
Current Support for Others' Research
Editor, Journal of Screenwriting (Intellect).
Member of editorial board, Palgrave ‘Studies in Screenwriting’ series.
Keynote speaker, Second Annual Screen Industries in East-Central Europe/Theorizing Screenwriting Practice conference, Brno (Czech Republic), 2012.
Keynote speaker, Fourth Screenwriting Research Network International Conference, Brussels, 2011.
The Screenplay: Authorship, Theory and Criticism shortlisted for the Richard Wall Memorial Award, Theatre Library Association, 2011.
British Academy small research grant awards, 2013, 2010, 2003.
Member of the editorial board, The Year’s Work in English Studies (Oxford: Oxford University Press, 1999-2007).
AHRB Study Leave award, 2003.