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Juliet John Juliet John i(20904553 works by)
Gender: Female
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1 The Liminal Role of the Screenplay : Pre-production, the Screen Idea and the Visual Concept Juliet John , 2021 single work criticism
— Appears in: TEXT Special Issue , October no. 62 2021; 'The screen idea is a scholarly term used to describe the collective idea for a narrative screen project that exists in the minds of the collaborators as their concept for the work is evolving. The term has mostly been related to the script development phase of a project to elucidate the liminal form and function of the screenplay during that period. The screen idea can also be related to subsequent phases of conventional commercial screen production, such as the intensive planning period known as pre-production. One of the central activities during pre- production is the process undertaken by key heads of department – director, production designer and director of photography (DOP) – in conceiving a visual style with which to tell the story. This group is sometimes referred to as the visual triumvirate. The visual concept developed by the triumvirate sets out a plan for how the formal qualities of the work, such as colour, contrast, camera movement and lens choice, will be used to drive and enhance the expression of the narrative. During this phase, the imagery inferred through the words of the script begins to find tangible form, thereby contributing to the evolution of the screen idea as it progresses beyond the script development phase. Through examples taken from creative practice in recent Australian film and television, alongside the author’s own industry experience, this article examines factors influencing the process of negotiation between the triumvirate as they develop a visual style for their screen projects.' (Publication abstract)
1 Pushing the Boundaries : Creativity and Constraint in Australian Screen Production Juliet John , Hester Joyce , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 2 2020; (p. 130-143)

'Screen production is risky business. Significant sums of money are invested in a process that is subject to myriad precarious variables. Effective completion of a screen project is achieved through the instigation and monitoring of strict parameters which bound its creative process. However, filmmaker David Lynch states that ‘any restriction is a sadness and can kill creativity’ (Stratton 2015. David Lynch in Conversation.  The tension between flow and constraint in creative practice negotiates a delicate balance between efficiency and futility. At its most productive, limitations can provide a catalyst for innovation, whereas restrictions that are not sympathetic to the project’s creative intention can cause unproductive conflict and power struggles. Examination of this inherent tension deepens our understanding of the screen production process and offers broader insight into the nature of practice in the creative arts. Anecdotal evidence is drawn from interviews with screen practitioners and the author’s own experience working in various Australian film and television productions between 1994 and 2018. Findings are then examined alongside theories of creative work.'  (Publication abstract)
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