CINXE.COM

<!DOCTYPE html> <html lang="en" dir="ltr"> <head>  <script async src="https://www.googletagmanager.com/gtag/js?id=G-P63WKM1TM1"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-P63WKM1TM1'); </script>  <script type="text/javascript" > (function(m,e,t,r,i,k,a){m[i]=m[i]||function(){(m[i].a=m[i].a||[]).push(arguments)}; m[i].l=1*new Date(); for (var j = 0; j < document.scripts.length; j++) {if (document.scripts[j].src === r) { return; }} k=e.createElement(t),a=e.getElementsByTagName(t)[0],k.async=1,k.src=r,a.parentNode.insertBefore(k,a)}) (window, document, "script", "https://mc.yandex.ru/metrika/tag.js", "ym"); ym(55165297, "init", { clickmap:false, trackLinks:true, accurateTrackBounce:true, webvisor:false }); </script> <noscript><div><img src="https://mc.yandex.ru/watch/55165297" style="position:absolute; left:-9999px;" alt="" /></div></noscript>    <title>Search results for: screenplay</title> <meta name="description" content="Search results for: screenplay"> <meta name="keywords" content="screenplay"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" type="button" data-toggle="collapse" data-target="#navbarMenu" aria-controls="navbarMenu" aria-expanded="false" aria-label="Toggle navigation"> <span class="navbar-toggler-icon"></span> </button> <div class="w-100"> <div class="d-none d-lg-flex flex-row-reverse"> <form method="get" action="https://waset.org/search" class="form-inline my-2 my-lg-0"> <input class="form-control mr-sm-2" type="search" placeholder="Search Conferences" value="screenplay" name="q" aria-label="Search"> <button class="btn btn-light my-2 my-sm-0" type="submit"><i class="fas fa-search"></i></button> </form> </div> <div class="collapse navbar-collapse mt-1" id="navbarMenu"> <ul class="navbar-nav ml-auto align-items-center" id="mainNavMenu"> <li class="nav-item"> <a class="nav-link" href="https://waset.org/conferences" title="Conferences in 2024/2025/2026">Conferences</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/disciplines" title="Disciplines">Disciplines</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/committees" rel="nofollow">Committees</a> </li> <li class="nav-item dropdown"> <a class="nav-link dropdown-toggle" href="#" id="navbarDropdownPublications" role="button" data-toggle="dropdown" aria-haspopup="true" aria-expanded="false"> Publications </a> <div class="dropdown-menu" aria-labelledby="navbarDropdownPublications"> <a class="dropdown-item" href="https://publications.waset.org/abstracts">Abstracts</a> <a class="dropdown-item" href="https://publications.waset.org">Periodicals</a> <a class="dropdown-item" href="https://publications.waset.org/archive">Archive</a> </div> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/page/support" title="Support">Support</a> </li> </ul> </div> </div> </nav> </div> </header> <main> <div class="container mt-4"> <div class="row"> <div class="col-md-9 mx-auto"> <form method="get" action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="screenplay"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 7</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: screenplay</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> From Script to Film: The Fading Voice of the Screenwriter </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ana%20Sofia%20Torres%20Pereira">Ana Sofia Torres Pereira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> On January 15th 2015, Peter Bart, editor in chief of Variety Magazine, published an article in the aforementioned magazine posing the following question “Are screenwriters becoming obsolete in Hollywood?” Is Hollywood loosing its interest in well plotted, well written scripts crafted by professionals? That screenwriters have been undervalued, forgotten and left behind since the begging of film, is a well-known fact, but ate they now at the brink of extinction? If fiction films are about people, stories, so, simply put, all about the script, what does it mean to say that the screenwriter is becoming obsolete? What will be the consequences of the possible death of the screenwriter for the cinema world? All of these questions lead us to an ultimate one: What is the true importance of a screenwriter? What can a screenwriter do that a director, for instance, can’t? How should a script be written and read in order not to become obsolete? And what about those countries, like Portugal, for example, in which the figure of the screenwriter is yet to be heard and known? How can screenwriters find their voice in a world driven by the tyrannical voice of the Director? In a demanding cinema world where the Director is considered the author of a film, it’s important to know where we can find the voice of the screenwriter, the true language of the screenplay and the importance this voice and specific language might have for the future of story telling and of film. In a paper that admittedly poses more questions than answers, I will try to unveil the importance a screenplay might have in Hollywood, in Portugal and in the cinema and communication world in general. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=communication" title=" communication"> communication</a>, <a href="https://publications.waset.org/abstracts/search?q=director" title=" director"> director</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=screenplay" title=" screenplay"> screenplay</a>, <a href="https://publications.waset.org/abstracts/search?q=screenwriting" title=" screenwriting"> screenwriting</a>, <a href="https://publications.waset.org/abstracts/search?q=story" title=" story"> story</a> </p> <a href="https://publications.waset.org/abstracts/29999/from-script-to-film-the-fading-voice-of-the-screenwriter" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29999.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Out of the Shadows: Constructing a Female Gaze in Neo-Noir: Exegesis and Screenplay, The Lonely Drive</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jade%20Bitomsky">Jade Bitomsky</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We all consume films on a daily basis. Yet, we frequently fail to recognize that these narratives shape our social, political, cultural, and economic values and attitudes. Narratives influence our perception; specifically, for this research, our perception of women within the genre of film noir. This creative research project examines to what extent film noir has perpetuated the male gaze and how noir’s representation of women has scripted female gender identity through perpetuated performative acts of femininity. Evolving from this research will be a deconstruction and (re)presentation of the femininity in noir. It will go beyond reiterated examinations, which developed awareness of Hollywood’s oppressive cinematic structures, to subvert the usual phallic diegesis and construct a female gaze in neo-noir screenplay, The Lonely Drive. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=femme%20fatale" title="femme fatale">femme fatale</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20noir%20%28classic%29" title=" film noir (classic)"> film noir (classic)</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=neo-noir%20%28contemporary%29" title=" neo-noir (contemporary)"> neo-noir (contemporary)</a>, <a href="https://publications.waset.org/abstracts/search?q=scopophilia" title=" scopophilia"> scopophilia</a> </p> <a href="https://publications.waset.org/abstracts/42523/out-of-the-shadows-constructing-a-female-gaze-in-neo-noir-exegesis-and-screenplay-the-lonely-drive" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/42523.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">227</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Exchanges between Literature and Cinema: Scripted Writing in the Novel "Miguel e os Demônios", by Lourenço Mutarelli</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marilia%20Correa%20Parecis%20De%20Oliveira">Marilia Correa Parecis De Oliveira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research looks at the novel Miguel e os demônios (2009), by the contemporary Brazilian author Lourenço Mutarelli. In it, the presence of film language resources is remarkable, creating thus a kind of scripted writing. We intend to analyze the presence of film language in work under study, in which there is a mixture of the characteristics of the novel and screenplay genres, trying to explore which aesthetic and meaning effects of the ownership of a visual language for the creation of a literary text create in the novel. The objective of this research is to identify and analyze the formal and thematic aspects that characterize the hybridity of literature and film in the novel by Lourenço Mutarelli. The method employed comprises reading and production cataloging of theoretical and critical texts, literary and film theory, historical review about the author, and also the realization of an analytical and interpretative reading of novel. In Miguel e os demônios there is a range of formal and thematic elements of popular narrative genres such as the detective story and action film, with a predominance of verb forms in the present and NPs - features that tend to make present the narrated scenes, as in the cinema. The novel, in this sense, is located in an intermediate position between the literary text and the pre-film text, as though filled with proper elements of the language of film, you can not fit it categorically in the genre script, since it does not reduce the script because aspires to be read as a novel. Therefore, the difficulty of fitting the work in a single gender also refused to be extra-textual factors - such as your publication as novel - but, rather, by the binary classifications serve solely to imprison the work on a label, which impoverish not only reading the text, as also the possibility of recognizing literature as a constant dialogue space and interaction with other media. We can say, therefore, that frame the work Miguel e os demônios in one of the two genres (novel or screenplay) proves not enough, since the text is revealed a hybrid narrative, consisting in a kind of scripted writing. In this sense, it is like a text that is born in a society saturated by audiovisual in their daily lives in order to be consumed by readers who, in ascending scale, exchange books by visual narratives. However, the novel uses film's resources without giving up its constitution as literature; on the contrary, it enriches the visual and linguistically, dialoguing with the complex contemporary horizon marked by the cultural industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brazilian%20literature" title="Brazilian literature">Brazilian literature</a>, <a href="https://publications.waset.org/abstracts/search?q=cinema" title=" cinema"> cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Louren%C3%A7o%20Mutarelli" title=" Lourenço Mutarelli"> Lourenço Mutarelli</a>, <a href="https://publications.waset.org/abstracts/search?q=screenplay" title=" screenplay"> screenplay</a> </p> <a href="https://publications.waset.org/abstracts/77869/exchanges-between-literature-and-cinema-scripted-writing-in-the-novel-miguel-e-os-demonios-by-lourenco-mutarelli" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77869.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">310</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Using True Life Situations in a Systems Theory Perspective as Sources of Creativity: A Case Study of how to use Everyday Happenings to produce Creative Outcomes in Novel and Screenplay Writing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rune%20Bjerke">Rune Bjerke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Psychologists incline to see creativity as a mental and psychological process. However, creativity is as well results of cultural and social interactions. Therefore, creativity is not a product of individuals in isolation, but of social systems. Creative people get ideas from the influence of others and the immediate cultural environment – a space of knowledge, situations, and practices. Therefore, in this study we apply the systems theory in practice to activate creativity processes in the production of our novel and screenplay writing. We, as storytellers actively seek to get into situations in our everyday lives, our systems, to generate ideas. Within our personal systems, we have the potential to induce situations to realise ideas to our texts, which may be accepted by our gate-keepers and can become socially validated. This is our method of writing – get into situations, get ideas to texts, and test them with family and friends in our social systems. Example of novel text as an outcome of our method is as follows: “Is it a matter of obviousness or had I read it somewhere, that the one who increases his knowledge increases his pain? And also, the other way around, with increased pain, knowledge increases, I thought. Perhaps such a chain of effects explains why the rebel August Strindberg wrote seven plays in ten months after the divorce with Siri von Essen. Shortly after, he tried painting. Neither the seven theatre plays were shown, nor the paintings were exhibited. I was standing in front of Munch's painting Women in Three Stages with chaotic mental images of myself crumpled in a church and a laughing x-girlfriend watching my suffering. My stomach was turning at unpredictable intervals and the subsequent vomiting almost suffocated me. Love grief at the worst. Was it this pain Strindberg felt? Despite the failure of his first plays, the pain must have triggered a form of creative energy that turned pain into ideas. Suffering, thoughts, feelings, words, text, and then, the reader experience. Maybe this negative force can be transformed into something positive, I asked myself. The question eased my pain. At that moment, I forgot the damp, humid air in the Munch Museum. Is it the similar type of Strindberg-pain that could explain the recurring, depressive themes in Munch's paintings? Illness, death, love and jealousy. As a beginning art student at the master's level, I had decided to find the answer. Was it the same with Munch's pain, as with Strindberg - a woman behind? There had to be women in the case of Munch - therefore, the painting “Women in Three Stages”? Who are they, what personality types are they – the women in red, black and white dresses from left to the right?” We, the writers, are using persons, situations and elements in our systems, in a systems theory perspective, to prompt creative ideas. A conceptual model is provided to advance creativity theory. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creativity%20theory" title="creativity theory">creativity theory</a>, <a href="https://publications.waset.org/abstracts/search?q=systems%20theory" title=" systems theory"> systems theory</a>, <a href="https://publications.waset.org/abstracts/search?q=novel%20writing" title=" novel writing"> novel writing</a>, <a href="https://publications.waset.org/abstracts/search?q=screenplay%20writing" title=" screenplay writing"> screenplay writing</a>, <a href="https://publications.waset.org/abstracts/search?q=sources%20of%20creativity%20in%20social%20systems" title=" sources of creativity in social systems"> sources of creativity in social systems</a> </p> <a href="https://publications.waset.org/abstracts/128407/using-true-life-situations-in-a-systems-theory-perspective-as-sources-of-creativity-a-case-study-of-how-to-use-everyday-happenings-to-produce-creative-outcomes-in-novel-and-screenplay-writing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128407.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Practice of Supply Chain Management in Local SMEs</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oualid%20Kherbach">Oualid Kherbach</a>, <a href="https://publications.waset.org/abstracts/search?q=Marian%20Liviu%20Mocan"> Marian Liviu Mocan</a>, <a href="https://publications.waset.org/abstracts/search?q=Amine%20Ghoumrassi"> Amine Ghoumrassi</a>, <a href="https://publications.waset.org/abstracts/search?q=Cristian%20Dumitrache"> Cristian Dumitrache</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Globalization system and the development of economy, e-business, and introduction of new technologies formation create new challenges to all organizations particularly for small and medium enterprises (SMEs). Many studies on supply chain management (SCM) focus on large companies with universal operations employing high-stage information technology. These make a gap in the knowing of how SMEs use and practice supply chain management. In this screenplay, successful practices of supply chain management (SCM) can give SMEs an edge over their competitors. However, SMEs in Romania and Balkan countries face problems in SCM implementation and practices due to lack of resources and direction. The objectives of this research highlight the supply chain management practices of the small and medium enterprise strip in Romania and understand how SMEs manage and use SCM. This study Checks the potential existence of systematic differences between small businesses and medium-sized businesses with regard to supply chain management practices and the application of supply management has contributed to the improvement performance and increase the profitability of companies such as increasing the market share and improving the level of clients. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=globalization" title="globalization">globalization</a>, <a href="https://publications.waset.org/abstracts/search?q=small%20and%20medium%20enterprises" title=" small and medium enterprises"> small and medium enterprises</a>, <a href="https://publications.waset.org/abstracts/search?q=supply%20chain%20management" title=" supply chain management"> supply chain management</a>, <a href="https://publications.waset.org/abstracts/search?q=practices" title=" practices"> practices</a> </p> <a href="https://publications.waset.org/abstracts/43582/practice-of-supply-chain-management-in-local-smes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43582.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">367</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Didactics of Literature within the Brechtian Theatre in Edward Albee's Who's Afraid of Virginia Woolf? and Ernest Lehman's Screenplay Adaptation from an Audiovisual Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Angel%20Mauricio%20Castillo">Angel Mauricio Castillo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The background to the way theatrical performances and music dramas- as they were known in the mid-nineteenth century, provided the audience with a complete immersion into the feelings of the characters through poetry, music and other artistic representations which create a false sense of reality. However, a novel representation on stage some eighty years later, which is non-cathartic, is significant because it represents the antithesis to the common creations of the period and is originated by the separation of the elements as a dominant. A succinct description of the basic methodologies includes the sense of defamiliarization that results as a near translation of the German word Verfremdung will be referred to along this work as the V-effect (also known as the ‘alienation effect’) and will embody the representation of the performing techniques that enables the audience to watch a play being fully aware of its nature. A play might sometimes present the audience with a constant reminder that it is only a play; therefore, all elements will be introduced to provoke dissimilar reactions and opinions. A clear indication of the major findings of the study is that there is a strong correlation between Hegel, Marx and Brecht as it is disclosed how the didactics of Literature have been influencing not only Brecht’s productions but also every educational context in which these ideas are intertwined. The result is a new dialectical process that is to say, a new thesis that creates independent thinking skills on the part of the audience. Therefore, this model opposes to the Hegelian formula thesis-antithesis-synthesis in that the synthesis in the Brechtian theatre will inevitably fall into the category of a different thesis within an enlightening type of discourse. The confronting ideas of illusion versus reality will create a new dialectical thesis instead of resulting into a synthesis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brechtian%20theatre" title="Brechtian theatre">Brechtian theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=didactics" title=" didactics"> didactics</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a> </p> <a href="https://publications.waset.org/abstracts/79315/didactics-of-literature-within-the-brechtian-theatre-in-edward-albees-whos-afraid-of-virginia-woolf-and-ernest-lehmans-screenplay-adaptation-from-an-audiovisual-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79315.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">179</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Entertainment-Education for the Prevention & Intervention of Eating Disorders in Adolescents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tracey%20Lion-Cachet">Tracey Lion-Cachet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Eating disorders typically manifest in adolescence and are notoriously difficult to treat. There are two notable reasons for this. Firstly, research consistently demonstrates that early intervention is a critical mediator of prognosis, with early intervention leading to a better prognosis. However, because eating disorders do not originate as full-syndrome diagnoses but rather as prodromal cases, they often go undetected; by the time symptoms meet diagnostic criteria, they have become recalcitrant. Another interrelated issue is motivation to change. Research demonstrates that in the early stages of an eating disorder, adolescents are highly resistant to change, and motivation increases only once symptoms have shifted from egosyntonic to egodystonic in nature. The purpose of this project was to design a prevention model based on the social psychology paradigm of Entertainment-Education, which embeds messages within the genre of film as a means of affecting change. The resulting project was a narrative screenplay targeting teenagers/young adults from diverse backgrounds. The goals of the project were to create a film script that, if ultimately made into a film, could serve to: 1) interrupt symptom progression and improve prognosis through early intervention; 2) incorporate techniques from third-wave cognitive behavioral treatment models, acceptance and commitment therapy (ACT) and rational recovery (RR), with a focus on the effects of mindfulness as a means of informing recovery; 3) target issues to do with motivation to change by shifting the perception of eating disorders from culturally specific psychiatric illnesses to habit-based brain wiring issues. Nine licensed clinicians were asked to evaluate two excerpts taken from the final script. They subsequently provided feedback on a Likert-scale, which assessed whether the script had achieved its goals. Overall, evaluators agreed that the project’s etiological and intervention models have the potential to inspire change and serve as an effective means of prevention and treatment of eating disorders. However, one-third of the evaluators did not find the content developmentally appropriate. This is a notable limitation to the study and will need to be addressed in the larger script before the final project can potentially be targeted to a teenage and young adult audience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adolescents" title="adolescents">adolescents</a>, <a href="https://publications.waset.org/abstracts/search?q=eating%20disorders" title=" eating disorders"> eating disorders</a>, <a href="https://publications.waset.org/abstracts/search?q=pediatrics" title=" pediatrics"> pediatrics</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment-education" title=" entertainment-education"> entertainment-education</a>, <a href="https://publications.waset.org/abstracts/search?q=mindfulness-based%20intervention" title=" mindfulness-based intervention"> mindfulness-based intervention</a>, <a href="https://publications.waset.org/abstracts/search?q=prevention" title=" prevention"> prevention</a> </p> <a href="https://publications.waset.org/abstracts/169568/entertainment-education-for-the-prevention-intervention-of-eating-disorders-in-adolescents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169568.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); });*/ jQuery.get({ url: "https://publications.waset.org/xhr/user-menu", cache: false }).then(function(response){ jQuery('#mainNavMenu').append(response); }); }); </script> </body> </html>