developer or producer to have a deeper understanding of the script and have objective criteria for the creative decisions they take. Moreover as the scripts are migrated to digital formats the tools offer many possibilities for prototyping from the information gathered. By analysis of multiple screenplays, TV episodes and genres the technology will allow the possibility of creating distinctive analytical patterns for the structure of genres, series, or episodes in the same way that comparative authorship can be assessed for individual writers.

There are major changes taking place in the television and film production process. This profound revolution is taking place in both the film and television production areas, and it has significant knock-on implications for new digital media areas such as the games sector, digital learning environments, and virtual communities or societies (e.g. Second Life). Convergence means that many media products move between media, a show such as the Simpsons or Lost is originated as a TV show and migrated to other media (film, game, online).

Shows are created in one medium and are spun off to others - from game to film or TV. Even more symptomatic of changes at stake is that the young YouTube and FaceBook generation is well attuned to interactive and realtime entertainment.

## 1.3 Free Text, Semi-Structured Text And Filmscripts

Before one considers hyperlinks, text is naturally viewed as sequential. There may well be other forms of structure beyond hypertext and classical sequential text and we will touch on some in this section - hierarchical structure in text, for example. The sequential text that we target in this work is the filmscript that forms the basis and starting point of a film. There are various aspects of structure that we consider. Our interest lies therefore in semi-structured data visualization and analysis.

Beard et al. (2008) consider data that is both (i) spatially referenced, and
(ii) temporally referenced, i.e. spatio-temporal data analysis. In our work we consider text segments that are characterized by (i) free text index terms; and (ii) the text segments are in sequence.

Let us review some quite general aspects of the handling of sequential segments of text. We then proceed to the particular case of filmscripts.

Chafe (1979) considers linear versus hierarchical (e.g., at sentence, paragraph, section, etc. levels) organization of text, in the context of studying narrative in its role as expressing past experience. Chafe used a 7-minute 16 mm color movie, with sound but no speech, and collected narrative reminiscences of it from human subjects. Chafe argues in favor of a "flow model", i.e. a "flow of thought and the flow of language" which ignores all structure beyond the sequential order.

In our work, based on film or television movie scripts, we have and avail of given scene boundaries. For Chafe, and others basing their work on a similar principle such as Hearst (1994), this was not the case and instead they based their work on the human thinking that lay behind the recorded narrative. It 4