Conference “KRITIK DER DRAMATURGIE” hosted by the German-speaking screenwriting research network,  Drehbuchforum Wien Vienna and the Film Academy Vienna

on October 2 and 3, 2026, at the Film Academy Vienna, Gabriele C. Sindler and Tobias Frühmorgen speak on the topic:

The Latest Hype:
Why “AI” Dramaturgy Is (Still?) Doomed to Fail – Despite Rapid Advances, Passionate Self-Deception, and Sophisticated Marketing

Drawing on classical dramaturgy, “AI” research, and screenwriting policy, Gabriele C. Sindler and Tobias Frühmorgen use comparative examples to examine a modern promise of salvation.

THESIS: Contrary to rosy advertising promises, (so far?) hardly any “AI” screenplay analysis tool is suitable as a basis for the fundamental development of stories or their professional, artistic dramatization. Despite—and at times precisely because of—the impressively rapid technical progress and attractive analysis results, “AI”-influenced screenplays and films based on them will lose quality—and thus also their audience. This is because an increasing number of decision-makers are using paid—and sometimes even supposedly free—services not only to shift responsibility but also to achieve short-term—and, in truth, short-sighted—cost savings by cutting back on scriptwriting and dramaturgy professionals. Without a deep, professional, and human understanding of screenwriting—along with the relevant knowledge and skills—the use of “AI” in this field exacerbates existing problems and shortcomings rather than solving them.

EVIDENCE Based on Comparative Examples

We analyzed and evaluated screenplays currently in development—supervised by experienced European and African dramaturgs—as methodologically standardized datasets using LLMs to assess them against general and specific criteria. Among them an Austrian-Nigerian feature film screenplay with a predominantly female cast.

We examined and identified similarities, differences, and errors in the identification and interpretation of content, characters, themes, motifs, genre, and narrative structure. Our primary focus is on the quality of identifying problems and shortcomings in SCREENPLAYS IN DEVELOPMENT. After all, it is these—and not finished films or even masterpieces—that dramaturgs deal with while supporting creative teams.

This critically entertaining article on the interaction between humans and “AI” identifies the challenges and limitations of integrating (still?) male, white, Western, middle-class-dominated LLMs into critical, thematic, narrative screenplay analysis—particularly using the example of a feature film project dominated by female, African, and working-class characters.

Gabriele C. Sindler
gcs@dfkfilms.com | www.dfkfilms.com

Story and Script Consultant, Screenwriter, COO of DFK FILMS GmbH and of dfk*script*service, which specializes in screenwriting and dramaturgy.

Gabriele and her team are now in their second generation of working with the *40-Story-Steps* method, both for current film projects and in teaching. Her analytical method is based on practical experience in production, distribution, and world sales, as well as the collaboration with František “Frank” Daniel and the inversion of Paul Schrader’s story and screenplay development work.

Gabriele is a board member of the German Screenwriters’ Association, an experienced guest lecturer at film schools and in master classes, and a jury member in Europe and Africa (FFA / EURIMAGE / film festivals). She studied political science, screenwriting, and dramaturgy at the Free University of Berlin and the German Screenwriters’ Academy (dffb). She is currently working as a writer and dramaturg with three different creative teams on funded feature film projects.

Tobias Frühmorgen
tobias.fruhmorgen@filmeu.eu

Lusófona University / FilmEU / Film University Babelsberg

Tobias Frühmorgen is a film lecturer, researcher, and filmmaker. At Lusófona University in Lisbon and FilmEU University, he teaches project development in bachelor’s and master’s programs, as well as in the EU master’s program “KinoEyes” and the EU bachelor’s program. He is involved in several research projects funded by the EU or under the “Horizon” program, including filmterm, future.film.education, ReSTART, C-Accelerate, Cyanotypes, Crescine, RIT, and Wire. Tobias oversees international film projects and coordinated a joint research initiative on GenAI. He also works as a screenplay analyst, is a certified Green Consultant, co-teaches a sustainability course at Lusófona University, and is a member of the CILECT Committee on Sustainability. He is currently completing his interdisciplinary doctoral dissertation on AI and screenwriting at the Babelsberg Film School.