This paper tells a history of Facebook from 2004 to 2013. It presents the big picture by focusing on Facebook as it presented itself to a user, that is the available semiotic and interactional elements (e.g., profile, wall, feed, commercials, etc.) as well as the functions and useforms which these elements made possible for a variety of actor types (profile owners, groups, companies, software developers, etc.).

When it was announced a few years back that David Fincher would be directing what most people were then calling “the Facebook movie,” I reflexively cringed

David Fincher has hit on something with The Social Network – and he knows it. His scintillating, Harvard-set study of the genesis of Facebook plays like a dot com version of The Great Gatsby with runaway-train-paced dialogue redolent of a '40s screwball comedy.

The new Hollywood Reporter magazine offers a rare profile of the anti-authoritarian rebel who shot Rooney Mara topless for a new 'Dragon Tattoo' poster, wanted to call Mark Zuckerberg 'Judas,' and doesn't play the Oscar game.

“The Social Network” is director David Fincher’s fascinating look at the birth of Facebook, and the men responsible for its creation.

The Social Network won the Academy Award for Best Adapted Screenplay in 2011. It is an audacious script which breaks many so-called screenwriting ‘rules’ and thus is worth analyzing.

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule:

The Social Network is a masterpiece—but its brilliance lies not only in its realistic portrayal of the “internet generation,” which Joseph Donovan notes in his review, but also in its profound critique of this generation.

The first thing that happens after Erica (Rooney Mara) breaks up with Mark Zuckerberg (Jesse Eisenberg) in "The Social Network" is that he goes back to his residence hall.

David Fincher is one of my favorite directors. At first glance The Social Network doesn't seem like his style- no one dies, nothing crazy happens, and there's no great plot twist.

The Social Network was a fantastic movie for many reasons: The direction of David Fincher, the music by Trent Reznor, the acting of mostly everyone involved and, of course, the screenplay by Aaron Sorkin.

The opening scene of “The Social Network” is an unlikely one. Where most screenwriters would start their tale about the founder of Facebook with Mark Zuckerberg coding or frustratingly sending his friends an Evite over ICQ (or something), Aaron Sorkin opts for a breakup.

Aaron Sorkin, who won an Oscar in February for his screenplay for Facebook drama The Social Network, has quit Facebook, it was revealed today.

In Internet wunderkind Mark Zuckerberg, TV wunderkind Aaron Sorkin may have found his perfect subject: the wunderkind genius jerk. But is The Social Network the scathing portrait of Zuckerberg that Facebook fears? You’ll be arguing about that for weeks.

he debate has begun. Many who know Mark Zuckerberg and his company are upset about the inaccuracies in The Social Network. Movie critics on the other hand love the movie. Few, though, are reflecting on what these two sets of reactions tell us about the moment we are living in.

At what point do you know you’re watching a masterpiece? Did it hit the 1941 movie-going audience while watching Citizen Kane that it was one of the greatest movies ever or after? Was it on the first viewing, the second, or maybe the tenth for the tastemakers to whisper “masterpiece”?

When I emerged from the cinema after seeing The Social Network, my friend asked, “So what did you think?” and I replied, “Fantastic. Brilliant. I loved it. I just don’t know why”. Now I do.

In 1492 Columbus set out to find a shorter route to the silks and spices of India and discovered the New World.

All of us can relate to Mark Zuckerberg. And that’s what will keep you engaged. You and I both want that same acceptance and equality Mark wants.