This article considers how screenwriting might operate in the newly established medium of cinematic virtual reality (CVR). In Part One, we take a wide view of ways to consider screenwriting and development for CVR. Our approach theorizes CVR in the tradition of picture-making (or image-making) practices that can be traced within a broader history of the visual arts-from painting, to photography and contemporary art. In this way, we lay open the possibility for CVR to find diverse paths as it responds to narrative concerns rather than suggest it should merely repeat the consolidation of narrative that occurred with the transition of exploratory early cinema to the dominant Classical Hollywood system. In Part Two, our case study approach considers co-author, Miriam Ross', CVR practice-based research to allow a discussion of the format that can be used for delivery of the CVR screenplay. Our aims are to connect a historically based spatialization of the image with the question of the spatialization of the screenplay for CVR 360-degrees media. The agenda is to expand the conversation around CVR to reflect upon, and inspire, new ways of thinking (and seeing) the potential for the development of screen ideas in this medium. Keywords 2 2 CINEMATIC VIRTUAL REALITY VR 360 MEDIA IMMERSIVE SCREENWRITING Cinematic virtual reality Cinematic virtual reality, or 'CVR' for short, is an immersive virtual reality experience 'where individual users can look around synthetic words in 360, often with stereoscopic views, and hear spatialized audio specifically designed to reinforce the veracity of the virtual environment' (Mateer 2017: 15). This is also referred to as 'Film VR' or 'Live Action VR', with reference to its status as a lens-based cinematographic moving image practice, and contrasting 'Traditional VR' as computer generated virtual world more akin to interactive gaming engines. The head mounted display apparatus is the site of convergence for these two models, allowing viewers to accept both under the umbrella of VR. In CVR, the 'cinematic' prefix further reflects the ability to capture increasingly high-resolution images, from 2K, to 4K and now 8K, consistent with trends in digital filmmaking. The cinematic prefix also suggests the question of dramatic narrative for the emerging media. Consistent with early (celluloid) cinema over a century earlier (Gunning 1990; Turvey 2004), initial VR live-action projects have centred on documentary (actualities) and/or spectacular iterations of experience-travelling into outer space (Access Mars, 2017); living with dinosaurs (VR Dinos, 2015) or swimming with sharks (Shark Dive VR, 2016)-and have maintained a short duration of seven to ten minutes. Less clear is whether CVR will develop narrative akin to the Classical style that emerged in the United States and influenced international filmmaking (Bordwell et al. 1985) or whether it will take different paths in response to its proximity to other forms, particularly gaming.

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This article explores ‘scripting’ the adapted screenplay for budget film models, including microbudget features, DIY film-making and creative practice-led research. It highlights the lack of attention given to the adapted screenplay in the field of adaptation studies, and works with notions of intermediality, and transmediality, to privilege the screenplay as the primary site for creative interaction in the adaptation process. In the context of small-scale, budget film-making practices the focus is towards modes of scripting that rely on working with images, both as part of the screenplay form/format and more directly, in ‘writing’ with moving images, with the screenplay situated within production. This article argues that in consideration of the adapted screenplay, for budget film-making, the relationship between words and images is realigned. The impact of digital media culture together with the advance of digital film-making will accelerate this. Two case studies are presented. The first is Mala No he (1985), the debut feature film of Gus Van Sant, based on the novella by Walt Curtis. The second is LBF (2011), the author’s own debut feature film, based on the novel Living Between Fucks (2006) by Cry Bloxsome. This article aims to engage screenwriting researchers, independent/budget film-makers and creative arts practitioners.

This article takes the form of a case study on the work of French filmmaker and music video director Vincent Moon, and his 'Takeaway Shows' at the video podcast site La Blogothèque. This discussion examines the state, and status, of music video as a dynamic mode of convergent screen media today. It is argued that the recent shift of music video online represents a revival of music video-its form and aestheticstogether with a rejuvenation of music video scholarship. The emergence of the 'ascetic aesthetic' is offered as a new paradigm for music video far removed from that of the postmodern MTV model. In this context, new music video production intersects with notions of immediacy, authenticity and globalised film practice. Here, convergent music video is enabled by the network of Web 2.0 and facilitated by the trend towards amateur content, participatory media and Creative Commons licensing. The pedagogical implications of teaching new music video within screen media arts curricula is highlighted as a trajectory of this research.

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