ABSTRACT Much has been written about screen cities, and within this literature it is suggested that the city itself becomes screen language with its light, colour, and architecture. But there are fewer, if any, scholarly explorations on the practice of screenwriting the city, whereby this language must first be realised in words. Moreover, traditional screenwriting models emphasise the importance of plot, but not necessarily the creation of those worlds into which viewers so readily enter. This paper draws from the author's own practice and pedagogy to discuss experiments in using the city – and the screen world more broadly – as a starting point for screen stories. It makes particular reference to the script development process of a Melbourne-set screenplay, and the development and delivery of an undergraduate media studio, one that used the location-as-inspiration approach suggested by Kathryn Millard's invitation to ‘write for place’ (2014). In presenting the attendant discoveries, this paper aims to open a conversation around writing the city and the ways in which notions of ‘world’ impact upon, or intersect with, other aspects of screenwriting practice. It is hoped that this leads to practical ways, in learning, teaching and script development environments, to approach a story's world.

中文翻译：

---

文字和城市：为屏幕编写脚本的城市的教学和实践

摘要关于屏蔽城市，已经有很多著作，在这些文献中，建议城市本身以其光，色和建筑成为屏蔽语言。但是，关于城市编剧实践的学术探索（如果有的话）更少，因此必须首先以语言实现这种语言。而且，传统的编剧模型强调情节的重要性，但不一定是观众容易进入的那些世界的创造。本文借鉴作者自己的实践和教学方法，讨论了使用城市以及更广泛的屏幕世界作为屏幕故事的起点的实验。它特别参考了墨尔本设定的剧本的脚本开发过程以及本科媒体工作室的开发和交付，一种使用凯瑟琳·米勒德（Kathryn Millard）邀请“为地方写作”（2014）建议的位置即灵感方法。在介绍伴随的发现时，本文旨在围绕书写城市以及“世界”概念影响编剧实践其他方面或与之相交的方式展开对话。希望这会导致在学习，教学和脚本开发环境中接近故事世界的实用方法。