Audiovisual Scripting Techniques
Code: 103062 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2501928 Audiovisual Communication | OT | 4 | 0 |
Contact
- Name:
- Rosa Maria Palencia Villa
- Email:
- RosaMaria.Palencia@uab.cat
Use of Languages
- Principal working language:
- spanish (spa)
- Some groups entirely in English:
- No
- Some groups entirely in Catalan:
- No
- Some groups entirely in Spanish:
- Yes
Prerequisites
In order to study this subject, basic concepts about the creation of a script are required in subjects such as Narrative Audiovisual, Audiovisual Guion of Fiction, Audiovisual Guion of Non-Fiction, Dramaturgy and Screenplay and Television Genres.
It is also necessary for students to have a good understanding of English, both oral and reading.
This subject is part of the knowledge area of "Audiovisual Narrative", which "Provides the basic fundamentals for the construction of audiovisual messages based on the different narrative theories, the dramaturgy and the expressive nature of audiovisual languages. This subject also provides knowledge about the techniques and specific models for the creation of scripts in different audiovisual media, according to genres and formats "(Memory of the Degree in Audiovisual Communication approved by the ANECA).
The subject provides students with both theoretical and practical tools for the creation of audiovisual scripts. Training as an audiovisual scriptwriter is one of the most frequent professional outputs for graduates in Audiovisual Communication, according to official data available such as The Observatory of Graduates (UAB) or the White Paper Degrees of Communication Degree.
Objectives and Contextualisation
- Deepening the understanding of fundamental concepts for the creation of audiovisual scripts.
- Analyze critically television, radio and film programs from the narrative perspective and its formulation by writing the script.
- Relate and apply theoretical and technical concepts in the creation of audiovisual scripts.
- Critically reflection on the situation of women as scriptwriters at the audiovisual industry as well as on their depiction in audiovisual products.
Competences
- Apply narrative and presentation skills specific to audiovisual content.
- Demonstrate a critical and self-critical capacity.
- Demonstrate a self-learning and self-demanding capacity to ensure an efficient job.
- Demonstrate ethical awareness as well as empathy with the entourage.
- Develop autonomous learning strategies.
- Develop critical thinking and reasoning and be able to relay ideas effectively in Catalan, Spanish and a third language.
- Disseminate the area’s knowledge and innovations.
- Generate innovative and competitive ideas in research and professional practice.
- Manage time effectively.
- Show leadership, negotiation and team-working capacity, as well as problem-solving skills.
- Use one’s imagination with flexibility, originality and ease.
- Value diversity and multiculturalism as a foundation for teamwork.
Learning Outcomes
- Demonstrate a critical and self-critical capacity.
- Demonstrate a self-learning and self-demanding capacity to ensure an efficient job.
- Demonstrate ethical awareness as well as empathy with the entourage.
- Design, plan and develop a communication project.
- Develop aesthetic sensitivity to create audiovisual products.
- Develop autonomous learning strategies.
- Develop critical thinking and reasoning and be able to relay ideas effectively in Catalan, Spanish and a third language.
- Disseminate the area’s knowledge and innovations.
- Generate innovative and competitive ideas in research and professional practice.
- Manage time effectively.
- Promote innovations in the development of audiovisual narratives.
- Show leadership, negotiation and team-working capacity, as well as problem-solving skills.
- Use one’s imagination with flexibility, originality and ease.
- Value diversity and multiculturalism as a foundation for teamwork.
Content
This subject is sensitive to the gender perspective and all its contents will be treated from this perspective.
1. The audiovisual script according to the audiovisual formats. Creation of scales, treatments and scripts of formats such as magazine; contest; debate; interview program; reality shows; late night show; monologues and fiction series.
2. Theoretical-practical reflection and from gender perspective , on the script according to dramatic genres such as melodrama; farce; tragedy and tragicomedy.
3. Understanding about how to conceive and design audiovisual fiction series through theoretical reflection and practical exercises.
4. Learning and deepening of new models of structure according to the genre / audiovisual format.
5. Incorporation of skills for the creation of characters according to their dramatic role.
6. Reflection and practice of the writing of dialogues in fiction and entertainment genres.
Methodology
Ths an eminently practical subject in which the concepts learned in previous subjects of the area of Narrative, such as Audiovisual Narrative, will be deepened; Fiction audiovisual script; Audiovisual Script of non Fiction and Dramaturgy and Cinematographic Script. However, as it is a theoretical and practical subject (TPL) the theoretical work will be addressed through compulsory readings; viewing and analysis of audiovisual products and public exhibitions and debates throughout the course. The practical aspect will be carried out in each session in which concrete slogans will be worked on according to the topic and through the design and elaboration of a final project of complete literary audiovisual script and its previous steps as a runway or treatment, depending on the format.
The tutorials are essential for the follow-up of the practical projects object of evaluation.
The autonomous activities of the students are equally essential to achieve the learning objectives.
The calendar will be available on the first day of class. Students will find all information on the Virtual Campus: the description of the activities, teaching materials, and any necessary information for the proper follow-up of the subject. In case of a change of teaching modality for health reasons, teachers will make readjustments in the schedule and methodologies.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Classes | 15 | 0.6 | 7, 5, 10, 4, 11 |
| Laboratory practices | 22.5 | 0.9 | 13, 12, 6, 1, 7, 8, 9, 10, 14 |
| Seminars | 15 | 0.6 | 12, 3, 6, 1, 8, 9, 4 |
| Type: Supervised | |||
| Tutorials | 7.5 | 0.3 | 13, 12, 9, 10 |
| Type: Autonomous | |||
| Readings, analysis and homework | 82.5 | 3.3 | 13, 2, 12, 3, 6, 1, 7, 5, 8, 9, 10, 4, 11, 14 |
Assessment
The continuous assessment system is composed of four different parts.
a) Theoretical exam: 20% on the final grade.
b) Final project: 40% on the final grade.
c) Exhibition of topics and debates about compulsory readings 20% on the final grade.
d) Evaluable exercises done in class according to calendar 20% on the final grade
The evaluation criteria are related to the learning outcomes as well as to the specific quality indicators that will be determined in a timely manner for each assessable evidence.
The last two weeks of the course will be dedicated to recovery activities, which can accommodate students who meet the following conditions:
a) That he has not had more than three absences.
b) That he has obtained a grade of between 3 and 4.9 in the theoretical exam.
c) The final project will be tutored during the course so that it can not be reassessed in their integrity. It is essential to pass the theoretical exam and at least 2/3 of the final project to pass the subject.
In case of second enrollment, students can perform a single synthesis test consisting of a theoretical exam. The qualification of the subject will correspond to the qualification of this synthesis test.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Examination | 20% on the final grade | 2 | 0.08 | 13, 3, 10, 4, 11 |
| Expose at classroom and debates | 20% on the final grade | 2.5 | 0.1 | 2, 3, 1, 7, 8, 9, 10, 4, 14 |
| Final project | 40% on the final grade | 2 | 0.08 | 13, 3, 6, 8, 9, 4 |
| Practical excercises | 20% on the final grade | 1 | 0.04 | 13, 2, 12, 3, 6, 1, 7, 5, 10, 4, 11, 14 |
Bibliography
(This bibliography may be expanded during the course)
BAREA Pedro y MONTALVILLO Roberto (1992) Radio: redacción de guiones. Bilbao Universidad del País Vasco.
BENTLEY, Eric (1982) La vida del drama. Barcelona. Paidós Ed. Primera parte recuperable en https://vdocuments.site/la-vida-del-drama-eric-bentley-parte-1.html Segunda parte recuperable en https://vdocuments.site/179974077-la-vida-del-drama-eric-bentley-segunda-parte.html
CASCAJOSA VIRINO, Concepción. (2005) Prime Time. Las mejores series de la televisión americanas. De CSI a Los Soprano. Madrid, Calamar Ediciones.
COOPER Pat y DANCYGER Ken (1994) El guión del cortometraje. Madrid, IORTV.
DE ROSENDO, Teresa y GATELL, Josep (2015) Objetivo Writers’ Room. Las aventuras de dos guionistas españoles en Hollywood. Barcelona. Alba Ed.
ICKOWIZCZ, Luisa Irene (2008) En tiempos breves. Apuntes para la escritura de cortos y largometrajes. Buenos Aires. Paidós Estudios de Comunicación 27.
LUNA, Alicia (2012) Nunca mientas a un idiota. Poker para guionistas y demás escribientes. Barcelona. Alba Ed.
ORTIZ, Miguel Ángel y Volpini, Federico. (1995) Diseño de programas de radio. Barcelona, Paidós.
PÁRAMO, Almudena G. (2007) Los papeles de la tele. El guión en programas de televisión
SÁNCHEZ-ESCALONILLA, Antonio. (2001) Estrategias del guión cinematográfico. Barcelona, Ed. Ariel Cine.
STEELE, Alexander (Editor) (2014) Escribir cine. Guía práctica para guionistas de la famosa escuela de escritores de Nueva York. Barcelona. Alba Eds.
RAY BROWN, Michael (2006) ScreenplayFormat Guide. Story Sense. Recuperable en http://www.communityandculture.bm/files/new_events/1470407013Screenplay%20Format%2010%20great%20websites.pdf
RAYNAULD, Isabelle (2014) Leer y escribir un guión. Buenos Aires. La marca editora. La introducción a este libro puede recuperarse en http://lamarcaeditora.com/admin/files/libros/1038/RAYNAULDLeeryescribirunguinmuestradigital.pdf
TUBAU, Daniel (2007) Las paradojas del guionista. Reglas y excepciones en la práctica del guión. Barcelona, Ed. Alba.
VORHAUS, John (2005) Cómo orquestar una comedia. Los recursos más serios para crear los gags, monólogos y narraciones cómicas más desternillantes. Barcelona. Alba Eds.