General information


Subject type: Optional

Coordinator: Rafael Suarez Gómez

Trimester: First and second quarters

Credits: 12

Teaching staff: 

Anna Pilar Llacher Alsina
Joan Jordi Miralles Broto 
Rafael Suarez Gómez 

Teaching languages


Both languages ​​will be used interchangeably.

Some punctual reading may be in English.

The subject is taught in the first and second term.

Skills


Specific skills
  • E5_Design and make an audiovisual product (consisting of still or moving images), taking into account both its technical and artistic aspects, in all its components

  • E6_Design, plan and perform with multicamera, live and on set, according to all facets of the product (both in the artistic design and content and in the technique)

  • E7_Postproduce video using the basic tools of audiovisual editing programs (titling, color and exposure retouching, speeds, masks ...) and how to insert them into the editing process by adding digital effects

  • E10_Apply processes, methods and techniques to develop creativity and innovation in audiovisual production, multimedia development and video game programming

  • E14_Acquire knowledge of the history, aesthetics, evolution and dynamics of cinema, television, radio, press, Internet and video games, how to recognize aesthetics through viewing and analysis

  • E15_Size and manage human, technical and economic resources necessary for the development of an audiovisual or multimedia project optimizing time, costs and quality

  • E18_Analyze the structures, contents and styles of television and radio programming according to the technical characteristics of their realization. Design, produce and make programs for television and radio in the technical part: production room or radio control, respectively

Transversal competences
  • T2_That students have the ability to work as members of an interdisciplinary team either as one more member, or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments taking into account the available resources

Description


The optional subject "Serial Fiction: Screenplay and Directing" it is done over two quarters (T1 and T2). It is a mainly practical subject and aims to confront the student throughout the course of a series of fiction. From its writing to its production, realization and assembly. Therefore, the subject is divided into two distinct parts with their separate assessment. A first part (first term) that organizes groups of students (screenwriters) for the writing of plot proposals and writing of script scripts with its seasonal plot and well-defined characters. The first part ends with the choice of projects to be carried out during the second part.

In the second part (second quarter) then, the pilots develop. The group will be divided into departments according to the interests of each student: casting and directing actors, directing, directing photography, directing, production, art, video and sound editing, etc. Throughout the quarter, each department will carry out the necessary tasks to get the chapter filmed and assembled. There are some theoretical classes at the same time that will be worked on in a practical way in class: from making budgets, to going out to locate, to organizing castings and rehearsals, etc. Each department will work autonomously and responsibly, and faculty will also play the role of executive producer, guide, and decision-maker. The goal is to work professionally, so students will make logistical and organizational decisions.

 

This subject has methodological and digital resources to make possible its continuity in non-contact mode in the case of being necessary for reasons related to the Covid-19.

In this way, the achievement of the same knowledge and skills that are specified in this teaching plan will be ensured. 

 

Learning outcomes


Upon completion of the course the student must be able to obtain the following general (RA) and complementary (RAC) learning outcomes:

- RA1. Know the market trends of audiovisual fiction (E14, E18).

- RA2. Write scripts for television fiction (T2, G2, E5, E10, E18).

- RA3. Consolidate knowledge about audiovisual narrative and fictional language (E14, E18).

- RA4. Communicate personal ideas, points of view and opinions on a given topic (T2, G2).

- RA5. Stimulate and discover their skills to relate to the professional world (T2, G2).

- RA6. Thorough knowledge of the practice of producing and directing fiction for television (E5, E6, E14, E15, E18).

- RA7. Launch a serial production (T2, G2, E5, E6, E10, E15).

- RA8. Plan a shooting plan. (T2, G2, E5, E6, E10, E15).

- RA9. Know how to use the necessary technical and human resources to create and produce a television series (T2, G2, E5, E6, E10, E15).

- RA10. Work on a creative post-production (G2, E7).

- RA11. Develop the student's creativity. (E5, E10).

- RA12. Work as a team and autonomously in the development of an audiovisual product assuming the roles within the group. (T2, G2, E5).

- RAC1: Identify the differences in the gender representation of fictional characters. (E10).

 

Working methodology


 

•     General of the subject:

The subject is structured in 4h / week of theory sessions and 2h / week of practical laboratory sessions.

The course will be divided into master classes (LARGE GROUP) for theoretical exhibitions, and classes / workshops (SMALL GROUP).

In the practical field, we will work from the conception of the idea and the writing of scripts to the staging, direction of actors and design of lighting and realization, going through costumes and production to end the direction, production and post-production. Always trying to create products that meet the needs of the potential audience and the real market. Therefore, we can work with formats we know or experiment with new formats. 

In the theoretical field we will deal with market trends, genres and subgenres of television serial fiction, the role of the director of the series, the importance of casting, musical and sound narrative, production and filming planning, the budget, the design of sound and light, television fiction and new technologies, the distribution and financing of fiction.

The option is conceived as an in-depth study of professional practice specializing in television.

Therefore, students taking this subject will be fully immersed in the process of creating, producing and producing serious audiovisual content of fiction on television. It is recommended that they be students who want to work and, therefore, an AUTONOMOUS LEARNING is required outside of class hours. The hours of autonomous learning consist of the work in group oriented so much to the learning of contents as to the production of the audiovisual piece, final aim of the asignatura.

 

•   Script part specific:

This first part of the course will offer both theoretical training in writing screenplays for television series and a specific practical application (writing a pilot in a group).

The theoretical parts will support students ’progressive work in writing a Bible for the sale of their series and, of course, writing the script for the pilot chapter.

In the first few weeks, each student will be asked for a premise for a television series. They will be free to choose format and timing (30-40 minute dramedy, sit as 20 minutes, web series or mini series, etc ...) but they will be guided with a series of indications regarding the feasibility of recording the pilot in the second part of the course.

All proposals will be presented in a pitching and teachers will choose the most appropriate proposals. The groups of screenwriters for each of the proposals will be formed and work will begin on writing the pilot script. The screenwriter-student who provided the premise will be the script coordinator of their group.

At the end of this first part, a pitching will be called again to choose which of the projects will finally be carried out.

This course, due to the situation generated by COVID, some of the large group sessions will be held in hybrid format: face-to-face and online (via streaming). This will allow students to rotate to face-to-face classes, respecting the maximum number of students per classroom imposed by the distance measures. When they are not in contact, they will be able to follow the class online from home. Some theoretical sessions will be done via zoom. 

With regard to internship sessions in smaller spaces (such as laboratories, studios or sets), where appropriate, work will be carried out simultaneously in several spaces in order to ensure that the conditions established by the safety protocols are met. Although this is perfectly possible that the number of students can be managed in a classroom, respecting the recommended separations. 

 

•   Specific to the Production and Realization part:

In this second part of the course, both theoretical and practical training will be offered. In fact, the two modalities will advance together, since in this second part of the subject the objective is very practical: to close a pilot chapter by group of professional quality.

Each student will be able to deepen with the discipline that prefers, since we will treat all the departments and processes of the audiovisual creation. Although the practical part will have a lot of weight, the theory will accompany the course giving tools to students to know how to think and create. 

 

 

Contents


FIRST PART: SCREENPLAY I WRITING (1st. T)

 

A) THEORETICAL CONTENTS

- Topic 1: Overcoming fear on the blank page.

Trends in serial fiction: series, web series. Theme and idea. References. Construction of an initial sales project. Pitching workshop I. Documentation.

Genres and formats. Particularities of the web series. Basic synopsis. Idea for sale. Logline (concept). Tagline (slogan). Initial premise to develop.

- Topic 2: Development I

 Seasonal plot synopsis. Pilot synopsis.

- Topic 3: Development II

 Character work: Main, secondary. Arcs. Stereotypes: files and profiles of characters and their evolution in the plots. Construction of levels of importance. Construction of the universe of the characters and their objectives.

- Topic 4: Development III

 Structures and types of plots. Tone and style. Narrative resources. Turns, conflicts and narrative tension depending on the genre. Dosage of information.

- Topic 5: Draftingó and seasonal Bible preparation

Seasonal Bible Writing. Aesthetics. Particularities. Ladder of all chapters. Seasonal structure and each chapter. A practical example: "Crematorio" (Jorge Sánchez Cabezudo, 2011, Canal +). Evolution of seasonal plots and plot lines: horizontal plots (seasonal) and episodic plots (self-conclusive).

-    Topic 6: Writing the script for the pilot episode.

Practical work of dialogues, subtext and stylization.

-    Topic 7: Pitching Workshop II.

 Extended universes: transmedia. Programming grid. The showrunner or executive producer.

- Other resources:

Viewings of both national and international series will be used in order to find suitable examples of the proposed theory. The specific views will be proposed by the teachers once the series to be developed are chosen with the intention of exemplifying options that will be referenced during the writing.

 

PART TWO: PRODUCTION AND DIRECTION (2nd T)

CONTENTS

- Topic 1: The viability of the project and the organization of the team

The management team.

The production team.

The artistic team. 

Other departments. 

- Topic 2: Production design and financing

Production dossier.

Budgets. Adapt the script to budgets.

Financing plan.

Shooting plan.

Locations.

Casting.

- Subject 3: Realization / Filming

Technical script and storyboard.

Production style: showrunner proposal.

Photo direction.

Sound design and direct sound.

Actors' direction.

Artistic direction.

Clothing and makeup. 

Production management.

- Topic 4: The assembly

Editing styles in serial fiction

Rough cut and Fine cut

Mastering

- Item 5: Marketing and distribution

Television and online distribution.

Grants and festivals.

Pilot chapter screening.

 




 



 

Learning activities


FIRST PART: SCREENPLAY AND WRITING (T1). 50% of the subject.

 

-    Activity 1: INITIAL IDEA FOR A TELEVISION SERIES. Individual oral presentation.

Related skills: T2, G2, E5, E10

Related learning outcomes: RA4, RA5, RA11

During the first days of the course, each student will propose a television series project that they will have to defend in an individual oral pitching in front of the class. As a support material, a small initial pitching workshop will be held and the corresponding web documentation will be made available to the student.

Each student must also submit a file of their series project in accordance with the usual characteristics of the professional market.

The result of the activity will have a weighting of 5% with respect to the total of the final note of this first part of the asignatura.

 

-    Activity 2: PROJECT BIBLE: The Bible with a map of plots and characters.

Related skills: T2, G2, E5, E6, E10, E14, E15, E18

Related learning outcomes: RA2, RA3, RA4, RA5, RA7, RA11, RAC1

At the end of the course each group will present the corresponding Bible for the sale of the project. The Bible must be delivered in electronic and paper format. It will contain all the phases worked on in class: synopsis, sequenced treatments, character sheets. The result of the activity will have a weighting of 25% with respect to the total of the final note of the first part of the asignatura. The specific objective is to demonstrate an understanding of the correct formatted writing of a film script and its professional presentation.

Support Material: 

Texts available on the virtual campus.

Specific study of the Bible in the series "Crematorio" (Canal +, 2011) / "Paquita Salas" (Netflix, 2018) / "Gente hablando" (Flooxer, 2018)

Selected viewers.

 

-    Activity 3: LITERARY SCREENPLAY OF THE PILOT EPISODE

Related skills: T2, G2, E5, E6, E10, E15, E18

Related learning outcomes: RA2, RA7, RA11, RA12, RAC1

Writing of the pilot episode by each of the groups of screenwriters. As support material, texts available on the virtual campus will be made available to the student. The SETENTA TECLAS scriptwriters' collective will make available to the student all the narrative construction material of specific examples.

The final script will be delivered in electronic and physical format and attached to the Bible.

The result of the activity will have a weighting of 30% with respect to the total of the final note of the first part of the subject.

 

-    Activity 4: Public presentation (PITCHING in group. PROFESSIONAL SIMULATION).

Related skills: T2, G2, E5, E6, E10, E15

Related learning outcomes: RA4, RA5, RA7, RA11, RA12

Presentation of the pilot episode by each of the groups of screenwriters. The final pitching will have a value of 15% with respect to the total of the final note of the first part of the subject. A panel with industry professionals and / or teachers will evaluate the presentation made.

 

-    Activity 5: THEORETICAL EXAMINATION

Related skills: E5, E6, E14, E15, E18

Related learning outcomes: RA1, RA3, RA6

Theoretical individual exam.

The theoretical knowledge of the contents of the subject is evaluated. This test consists of a part of questions on concepts associated with the learning objectives of the subject, in terms of knowledge and understanding, and a set of application exercises. The student has 2 hours to complete the test.

An additional 8 hours of independent learning is considered necessary to prepare for the exam.

The result of the theoretical test of script will have a weighting of 25% with regard to the total of the final note of the first part of the asignatura.

Note: In case of confinement, the following changes will be applied:

- Activity 1, 4 and 5 should be done in a synchronous virtual way (Zoom or similar). 

 

PART TWO: PRODUCTION AND REALIZATION (T2). 50% of the subject.

- Activity 1: Production dossier

Related skills: T2, G2, E5, E6, E10, E14, E15, E18.

Related learning outcomes: RA4, RA5, RA6, RA7, RA8, RA9, RA12

Presentation of a professional production dossier and a work diary of each department.

The result of this activity will have a weighting of 20% with respect to the total of the final note of the second part of the subject.

 

- Activity 2: Hidden camera.

Related skills: RA4, RA6, RA12, RAC1

Related learning outcomes: T2, G2, E5, E6, E10, E14, E15, E18

Small exercise of direction and gaze. In groups of 3, fieldwork will be done to work on direction, point of view and narrative intention.

The result of this activity will have a weighting of 10% with respect to the total of the final note of the second part of the subject.

 

- Activity 3: The pilot

Related skills: RA7, RA9, RA10, RA11, RA12, RAC1

Related learning outcomes: T2, G2, E5, E7, E6, E10, E15

The final result of the pilot chapter is evaluated by all the teachers involved in the subject. Final narrative (evolution of the script), tone, rhythm, staging, editing, adaptation to the genre and format, direction of actors, art, directing and photography, etc.

The result of this activity will have a weighting of 40% with respect to the total of the final note of the second part of the subject. 20% are individual and the other 20% group.

 

Activity 4: The exam

 

Related skills: E5, E6, E14, E15, E18

Related learning outcomes: RA1, RA3, RA6

Theoretical individual exam.

The knowledge of the contents of the subject is evaluated in this second part. The student has 2 hours to complete the test.

An additional 8 hours of independent learning is considered necessary to prepare for the exam.

The result of this activity will have a weighting of 30% with respect to the total of the final note of the second part of the subject.

Evaluation system


Each part of the course will be assessed individually.

 

A) For the script part (1st. T) the ordinary evaluation or qualification system will be:

- Activity 1 (oral exam or individual initial pitching): 5%

- Activity 2 (Project Bible): 25%

- Activity 3 (pilot script): 30%

- Activity 4 (the second pitching that will be group): 15%

- Activity 5 (individual theoretical exam): 25%

In the event of confinement, the assessment and weighting system would not change, but it could not be done in person as indicated in the learning activities.

If any of the practice or follow-up activities are not carried out (activities 1-4), it will be considered scored with a “0”. If there is more than one activity that has not been done, a grade of Not Presented will be obtained. 

If the activity that is not carried out is the theoretical test (activity 5) the subject will have a qualification of “Not presented” independently of the note of each one of the rest of activities. In addition, you must take a minimum grade of 5 on the exam to average.

To pass this part of the subject N1 + N2 + N3 + N4 + N5 must be at least a "5".

 

B) For the second part of the subject: Production and Realization (2nd T) the ordinary evaluation or qualification system will be:

- Activity 1 (Production / group dossier): 20%

- Activity 2 (Hidden / group camera): 10%

- Activity 3 (The pilot / group and individual): 40%

- Activity 4 (Theoretical / individual exam): 30%

 

To pass the course you must participate in the pilot and the exam. In addition, you must take a minimum grade of 5 on the exam to average. Of the other activities, only one "not presented" can be accumulated.

 

Recovery

Only Activity 5 (individual theory exam) of the first part and Activity 4 (Individual theory exam) of the second part can be retaken.



 

 

 

REFERENCES


Basic

RIOS SAN MARTIN, Manuel. The script for TV series. Madrid. IORTV. RTVE Institute, 2012

CARRIÓN, Jorge. Teleshakespeare. Barcelona Errata Naturae Editores, 2011

TOLEDANO, Gonzalo; VERDE, Nuria. How to Create a TV Series | Madrid: T&B Editores, 2007.

 

Complementary

Maras, Steven (2009). Screenwriting: History, Theory and Practice. Wallflower Press. Great Britain

"The Point of View," in Gaudreault, A .; Jost, F. The film story. Cinema and narratology. 1995. Barcelona: Paidós, 1995,

SÁNCHEZ-CABEZUDO, Jorge. ; SÁNCHEZ-CABEZUDO, Alberto. Crematorium: script for the TV series. Madrid. Seventy Key Editions. Eight and a Half, 2014

"Cinema and Narrative," in Gaudreault, A .; Jost, F .. The film story. Cinema and narratology. 1995. Barcelona: Paidós, 1995,

MCKEE, R,. The script. Barcelona: Alba Editorial, 2002.

MILLERSON, Gerald. Realization and production in television. 2009. IORTV, 2009.,

 

GALÁN, Elena .; HERRERO, Begoña. The fiction script on television. Madrid: Editorial Síntesis, SA, Madrid 2011

Ambrossi, Javier; Calvo, Javier (2017). Paquita Salas. Scripts of the series. ED. Eight and a half movie books. 

Tubau, D. (2015). The spectator is the protagonist. Alba Editorial.

Tubau, D. (2013). The script of the 21st century. Alba Editorial.