Not Signed-In
Which clippings match 'Continuity' keyword pg.1 of 2
04 JANUARY 2014

Story and Show Bibles: TV series pitching and reference documents

"Writers who want to pitch a TV series create a show bible. The bible contains the concept, location, bios of the characters, full episodes, synopses of potential episodes, and possibly even a pilot episode. Once the TV series is launched, the show bible is used to keep track of details about the setting and characters to preserve continuity. The show bible reminds writers about pertinent but minute facts. No doubt the writers for the TV show Buffy the Vampire Slayer needed to know the characteristics of each demon that Buffy fought as well as the names of her high school classmates who turned out to be vampires. It would be confusing if a student who was supposedly a vampire one season were suddenly able to see her reflection during the next season."

(Rochelle Melander, 2011, p.46)

Melander, R. (2011). "Write–A–Thon: Write Your Book in 26 Days (And Live to Tell About It)", F+W Media.



2011bible (guide)Buffy the Vampire Slayer • character bible • character bios • character history • consistencycontinuityepisodesfictional universehistories • keep track • living document • living inside a show • main characterpilot episode • pitch document • plotline • preserve continuity • production document • progressive design • reference document • Rochelle Melander • screenwriters • series pitch • show biblesoap opera • story bible • story breakdown • story concept • story location • story outline • story setting • synopsis • television seriesTV series • types of bibles • updated as a series progresses • world of the storywriters


Simon Perkins
09 MAY 2011

An Anthology of Graphic Fiction, Cartoons, and True Stories

"Comic art is a vital, highly personal art form in which change–rapid and unpredictable–is the norm. In this exciting new anthology, comic artist Ivan Brunetti focuses on very recent works by contemporary artists engaged in this world of change. These outstanding cartoonists, selected by Brunetti for their graphic sophistication and literary style, are both expanding and transforming the vocabulary of their genre.

The book presents contemporary art comics produced by 75 artists, along with some classic comic strips and other related fine art and historical materials. Brunetti arranges the book to reflect the creative process itself, connecting stories and art to each other in surprising ways: nonlinear, elliptical, sometimes whimsical, even poetic. He emphasizes continuity from piece to piece, weaving themes and motifs throughout the volume.

As gorgeously produced as Brunetti's previous anthology of graphic fiction, this book does full justice to the creative work of Art Spiegelman, Chris Ware, Charles Burns, Gary Panter, and the other prominent or emerging comic artists who are currently at work at the cutting edge of their medium."

(Yale University Press)



2008anthologyart form • Art Spiegelman • artistscartoonistscharacter design • Charles Burns • Chris Ware • comic art • comic artist • comic artists • comic strips • comicscontemporary artistscontinuitycreative practicecreative processcreative workdesign • design medium • drawing • Gary Panter • graphic novel • Ivan Brunetti • motifvisual communicationvisual language


Simon Perkins
20 NOVEMBER 2006

Cumulative Continuity And Directionality Of Western Civilisation

David Frampton (Griffith University, Australia)
An influential philosophical perception of western civilisation in the late modern era has emphasised its cumulative continuity and directionality, expressed most forcibly perhaps through science and technology, but equally through other mechanisms for the transmission of knowledge. There has been a current of thought interpreting this characteristic as the imposition of a fundamentally arbitrary logic on the world and human order. Thus Reiss (1982) writes: 'a discursive order is achieved on the premise that the 'syntactic' order of semiotic systems (particularly language) is coincident both with the logical ordering of 'reason' and with the structural organisation of a world given as exterior to both orders' (p. 31). Similarly, information, in Koch's (1987) view, is 'the mark of a logical ordering imposed on the world'. As arbitrary, this perceived imposition of a linear syntax on objective reality has been seen as oppressive or 'logocentric', and a series of writers has both heralded and encouraged its fragmentation into multiple, heterogeneous and autonomous perspectives.

Reiss, T. J. (1982). The discourse of modernism. Ithaca: Cornell University Press.
Koch, C. (1987). The being of idea: The relationship of the physical and the non–physical in the concept of the formal sign. Semiotica, 66(4), 345–357.



Australiacontinuity • cumulative • directionalfragment • Frampton • linearlogocentricorderingperceptionperspectivereasonsciencesemiotics • syntactic • technologyteleologyWestern
03 JANUARY 2004

The DJ authors by selection

"A DJ is somebody who exemplifies 'authoring by selection,' they are an example of how anti–montage aesthetics of continuity cuts across culture and is not limited to the creation of computer still and moving images and spaces. DJ?s art is measured by their ability to seamlessly go from one track to another. A great DJ is thus a compositor and anti–montage artist par excellence. They are able to create a perfect temporal transition from very different musical layers; in real time, in front of the dancing crowd."

(Hariri & Hariri, The Digital House, project, 1988)



1988 • anti-montage • archetypeauthorclosurecompositorcontinuitydisc jockeydisparateDJHariri and Hariri • infinitum • layermixremixrepeatsample • seamless • The Digital Housetransition
31 DECEMBER 2003

Becoming: Resemblance, Relationships

"Darwin himself treats the evolutionist theme of kinship and the naturalist theme of the sum and value of differences or resemblances as very separate things: groups that are equally related can display highly variable degrees of difference with respect to the ancestor. Precisely because natural history is concerned primarily with the sum and value of differences, it can conceive of progressions and regressions, continuities and major breaks, but not an evolution in the strict sense, in other words, the possibility of a descent the degree's of modification of which depend on external conditions. Natural history can think only in terms of relationships (between A and B), not in terms of production (from A to x)."
(Gilles Deleuze & Félix Guattari, 2004)

Gilles Deleuze & Félix Guattari, 2004. A Thousand Plateaus: Capitalism and Schizophrenia. Continuum International Publishing Group Ltd.


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