104132 - AUDIOVISUAL SCREENPLAY

Subject type: Basic

Coordinator: Maddalena Fedele

Trimester: Third term

Credits: 6

The subject of Audiovisual Screenwriting constitutes a first approach to screenwriting (mainly fiction) and its structural and narrative understanding. The basic tools of writing for the audiovisual are therefore studied and the theory of the audiovisual narrative is studied in depth with the intention that the student can write and analyze films from a plot point of view and of the story that is intended to be told.

General learning objectives of the subject

At the end of the course the student must be able to:

-Describe the differential characteristics of audiovisual products of different genres

-Establish the theoretical and conceptual bases on which the task of producing audiovisual scripts is developed

- Assess the different dramatic, aesthetic and ethical elements essential for writing scripts

-Provide the methodological bases for the creation of the different characters in a production

-Appropriately use the practical tools and guidelines for the task of creating and producing audiovisual scripts

- Create scripts for short audiovisual productions

-Produce and make small format products

-Apply quality assessment methodologies in audiovisual products.

- Understand the basic narrative resources applied to screenwriting.

- Fluently use word processors applied to script format.

Teaching methodology

Non-autonomous learning hours consist of:

- To take theoretical classes (large group) in which the general contents are presented to achieve the corresponding learning objectives. Conveniently interspersed and without prior notice, follow-up activities are carried out individually or in groups within the class. These activities tend to be small problems or exercises in understanding the content being presented.

- To discuss, debate and work in groups some exercises and activities proposed in theory class. This activity takes place in the classroom but with a medium-sized class group.

- To do some practices (small group), in laboratories that have the necessary equipment for the realization of the same. These activities are used to promote the competence of group work.

The student has and uses as support material, the transparencies of the subject that the teacher puts at their disposal from the first day and as the course progresses, on the virtual campus. This will allow the student to go to class having made a previous reading of the topics and, in class, to concentrate on the explanations of the teacher, taking the notes that he thinks opportune for a later study. It also has a published detailed teaching plan: learning objectives by content, programming of assessment activities, bibliography and other online resources.

Within the hours of independent learning are considered the hours that the student devotes to searching for additional information on the net, to doing a preliminary reading of both the notes and the basic bibliography for the corresponding theoretical class, to carry out exercises proposed outside of the classroom, and the study of complementary materials for carrying out practicals, writing reports, solving self-learning questionnaires, studying and preparing for partial exams, etc.

Subject matter

Topic 1: The script and the media

1.1. What a script

1.2. Types of scripts

1.3. Characteristics of the scripts depending on the medium and use

Topic 2: Basic principles of audiovisual narrative. Narrative structure and construction

2.1. Narrate with pictures

2.2. Basic principles

2.3. The role of sound

2.4. The concept of Gender

2.5. Dramatic structure / narrative structure

2.6. Types of script

- The ternary structure

- The mythical structure

2.7. The dramatization

- The conflict

- The plot: teacher and secondary

2.8. The plot design

2.9. Narration and time. Narration and space

Topic 3: Script construction: format and narrative resources.

3.1. Phases in the construction of the script

3.2. Literary script

                - How to write it

                - Formats

3.3. Technical script

3.4. Resources and dosing of information.

3.5. Point of view and narrator.

Topic 4: Construction of characters and dialogues

4.1. Types of characters

4.2. The characterization

4.3. How to make them known

- Identification

- The transformation arc

- The dialogues

4.4. Character Bible

4.5. Basic principles of dialogue

Other resources:

Filmography with titles that we will work on in theory class. Apart from these titles, fragments of other films or shorts will be screened with the intention of finding examples of the proposed theoretical concepts.

Tales from the script (Fisher, 2009)

Writing Heads: Screenwriters Speak (Suarez, 2013)

Star Wars IV (Lucas, 1977)

Toy Story (Lasseter, 1995)

Some Like It Hot (Wilder, 1959)

Brokeback Mountain (Lee, 2005)

Malviviendo [series] (Saiz, 2004-2014)

Crematorium [series] (Sánchez-Cabezudo, 2011)

No Man's Land (Tanovic, 2001)

The Apartment (Wilder, 1960)

The Man with the Golden Arm (Otto Preminger, 1955)

Up (Doctor, 2009)

The Godfather (Coppola, 1972)

A History of Violence (Cronenberg, 2005)

Other resources may be provided during the course. To work on concepts and narrative resources, short films of various genres and themes will be shown in class.

The activities of the theoretical part of the subject will be divided into theoretical exams and seminars (60% of the final grade of the subject)

¿1. Theoretical exam (50% of the final mark of the subject)¿

Individual examination?

At the end of the course, there will be an exam where knowledge of all the content covered during the course will be assessed. The exam may also include questions relating to the subject's practical sessions. The test consists of a part of questions (test) on concepts associated with the learning objectives of the subject and some development questions that aim to evaluate the level of reflection and use of the concepts presented in the subject by part of the student. The student has 2 hours to complete the test.¿

Is an additional dedication of 8 hours of independent learning considered necessary to prepare for the exam

2. Seminars (10% of the final mark of the subject)

The seminars will consist of two theoretical and practical exercises to be carried out in the classroom. The teacher will propose a text or a video that the student must read or watch before the seminar class. With this prior knowledge, the questions or writing exercises (on format, on dramatic understanding, on characters, on interpretation of structure) will be formulated in the framework of the classroom. These small seminar exercises will be evaluated by the teacher and will have an impact on the final grade (see the evaluation section).

At the end of the activity the student must be able to:

-Analyze and evaluate the different script structures

-Recognize the resources involved in the creation process

- Deepen the basic resources and their dramatic formulas of the approach structure, knot and denouement. Knowing how to distinguish dramatic turns and their functions.

The activities of the practical part will be divided into the preparation of a script in a group + participation in Calella film festival (40% of the final mark of the subject)

3. CREATE THE SCRIPT OF A SHORT FILM i PITCHING OF PRESENTATION.

This is the group of activities linked to the final project of the subject: The literary script of a fiction short film.

The last internship session will be dedicated to oral presentation, in the form of pitching professional, all the stories worked on as if we were exposing them to a film producer. The defense of each script will also count in the final grade.

Students will prepare this activity in groups of five with support material (CELTX or FADE IN software)

In the last session, the final documentation of the short film published with CELTX must be submitted. Partial deliveries will be made during the previous sessions, based on the specifications made by the teachers.

The result of the activity (script dossier) will have a weighting of 65% with respect to the total of the practical activities.

El pitching carried out will have a weighting of 25% with respect to the total of the practical activities.

At the end of the activity the student must be able to:

- Knowing and using a screenwriting program correctly (CELTX)

- Transform an idea into a script.

- Know the different mechanisms of the construction of audiovisual scripts.

- Have the ability to write texts, short stories and fiction scripts.

- Acquire a professional vision of the script, relating it to the other disciplines involved in any audiovisual project (production, direction, performance...)

- Respect the required formats.

- Understand the evolutionary phases of writing (from the premise to the dialogue script).

4. Individual participation in the Calella film festival "Limit 48 Hours" competition.

Date to be determined that will be published at the beginning of the course. WWW.calellafilmfestival.com.

It’s about writing, shooting and editing a short film of up to four minutes in a weekend.

Participation in the competition will have a weighting of 10% with respect to the total of the practical activities.

Internships are not validated for subsequent courses.

¿ - Lack of attendance at practices: ¿

It is necessary to attend at least 80% of the practical sessions in order to enjoy the continuous assessment. A maximum of three unexcused absences will be accepted. For each unexcused absence, 5% will be deducted from the final internship grade, up to a maximum of three unexcused absences that will result in the student not being assessed.

¿ - Practice rules:¿

¿For each activity, the teachers will inform the particular rules and conditions that govern it, including deadlines and means of delivery.¿

¿Deliveries will not be accepted outside of the deadlines indicated and through means not specified in the rules.¿

Do the individual activities presuppose the commitment of the students to do them individually. All those activities in which the student does not fulfill this commitment will be considered suspended.¿

Equally, the activities that must be carried out in a group presuppose the commitment on the part of the students who make up the group to carry them out within the group. All those activities in which the group has not respected this commitment will be considered suspended. The responsibility for the results of the work lies with the group, and not with the individuals who make it up.¿

¿The activities linked to the theoretical sessions of the subject will be presented in theory class, although they must have been carried out through independent work by the students outside of class time.¿

¿The activities linked to the practical sessions of the subject will be carried out in the laboratories, although they also include independent work by the students outside of class time.¿

In all works, the data relating to the subject as well as the specific activity and the author(s) must be clearly identified (in alphabetical order). ?

Both in the essays and in the presentations, both content and form, including spelling, will be taken into account. Spelling, syntactic and lexical errors will be penalized according to the criteria indicated in each activity. Works that do not meet minimum formal requirements will not be evaluated, therefore they will be scored with zero points. ?

¿Any activity not delivered will be scored with zero points.¿

¿Any activity where copying and/or plagiarism is detected will be scored with zero points.¿

Any activity that does not meet the requirements specified in the rules will be scored with zero points.

The theoretical section of the subject (60% of the final grade) will be evaluated through a theoretical exam, which is specified in the "Activities" section, and constitutes 50% of the subject and the seminars that constitute the 10% of the total of the subject. ?

¿The practical section of the subject (40% of the final grade), which is specified in the "Activities" section, will be evaluated through participation in the Calella film festival competition (10%), the presentation of the dossier of short film script (65%), and the corresponding pitch (25%).

¿Qualification system (evaluation)¿

¿Ordinary qualification¿

¿Minimum requirements: You must obtain (Ntheory >= 5 and Npractics >= 5) to be able to access the ordinary qualification of the subject. This means that both parts must be passed separately in order to pass the subject. It is given, of course, the opportunity for recovery to go only with the suspended part. In this recovery, the maximum practical grade is a five.¿

¿The final Grade is obtained from the following weighting of the partial grades (in the case of having passed practicals and theory):¿

¿NFinal = 0.6 NTheory + 0.4 NPractical
NTeoria = 0.5 NExamen + 0.1 NSeminaris
NPractiques= 0.65 NDossier + 0.25 NPitching + 0.1NCalellafilmfestival

¿NPràctiques is obtained from the weighted average of the practical activities carried out during the course (Script of a short film and pitching and participation in the Calella film fest)¿

NSeminaris consists of the evaluation of different individual activities (2) carried out during the course in the classroom. 

¿Recovery Qualification¿

In case of not passing the minimum requirements for an ordinary qualification, the student will be able to recover the grade of the part not passed (NTheory or NPractices).

¿Minimum requirements: It is necessary to have obtained a qualification other than Not Presented in the part to recover. The NPractices obtained in the recovery will be at most = 5.¿

¿The grade valid for calculating the NFinal will always be the one obtained in this Recovery, thus losing the right to the previous qualification. To recover the theory it will be necessary to pass a new exam. To recover the practical part, the student will be asked to prepare and correct the suspended dossier, as well as a specific individual test that will be announced before the recovery date.
 

Each misspelling discounts 0,25 on homework and 0,5 on homework.

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Davis, R. Writing scripts: character development. Paidós. Barcelona 2004

Cruz, Coral. Narrated images. Ed.Laertes, 2014

Field Sid. The Script Book. Plot Editions 1995

Aranda, D. De Felipe, F. Icart, P. Pujol, C. How to build a good audiovisual script. Barcelona: Ed.UOC 2006

Compared Doc. From creation to script. IORT

Garcia Marquez, G. How a story is told. Debolsillo. Barcelona 2003

McKee, R. The script. Ed.Alba. Barcelona, ​​2009

Vanoye, Francis. Script scripts and script templates. Classic and modern arguments in cinema. 1996. Ed. Paidós, Barcelona

McKee, R. The dialogue. Editorial Alba. Off-Field Collection. Barcelona, ​​2018.

Daniel Tubau. The Paradoxes of the Screenwriter. Alba ed

Crowe, Cameron. Conversations with Billy Wilder. Madrid 2012. Editorial Alliance

Chion Michel. How to write a script. Ed. Madrid Chair

Balló, Jordi and Xavier Perez. I've already been here. Fictions of repetition. 2005. Ed. Empuriabrava

McGilligan, Pat. Backstory. Conversations with screenwriters (1,2,3,4). Madrid 1993 to 2007. Ed. Plot

Balló, J .; Pérez, X. (1995). The immortal seed: the universal arguments in cinema. Barcelona: Empúries.