Degree | Type | Year | Semester |
---|---|---|---|
2501928 Audiovisual Communication | OT | 3 | 0 |
there are no prerequisites
- To deepen the knowledge on theoretical concepts for the creation of screenplays
- To analyse audio-visual products, especially cinematographic ones, from their narrative and gender perspective
- To apply the theoretical and technical concepts in the creation of screenplays
The content of the course will be sensitive to aspects related to gender perspective, such as the writing of original screenplays and references to the work of female screenwriters.
The calendar will be available on the first day of class. Students will find all information on the Virtual Campus: description of the activities, teaching materials, and any necessary information for the proper follow-up of the subject. In the case of teaching modality's changes due to sanitary reasons, teachers will make readjustments in schedule and methodologies.
1. Introduction
- Reality as a dramatic resource
- Dialogue and silence
- The search for our theme
2.- Narrative structures
- Genres and structures
- Classical narrative structures
- Non-conventional narrative structures
3.- Writing Characters
- Functionality of main and secondary characters
- Internal construction of the characters (motivations, intentions)
- Character arcs
- Multiple construction of a character
- Collective characters
- Antagonists
4.- Construction of cinematographic sequences
- Generating Cinematographic sequences
- Comparison between sequences and short films
- Introducing pieces of new information and intrigue in the sequence
- Assembling shots into a coherent sequence
5.- Dialogs
- Pragmatic and poetic functions
- Storytelling without words
- Thoughts, words, actions
6.- Literary script, technical script and story board
Objectives will be reached through theoretical classes, seminars and practical activities.
Theoretical classes are based on: (a) the viewing of multiple fragments of films and (b) debates in the classroom about their scripts.
The main objective of the seminars and practical classes is the realization of a professional short film script from the idea to the writing. Students will work weekly in their scripts and the teacher will correct regularly the advances in the face-to-face tutoring.
Autonomous activities of students are equally essential to achieve the learning objectives.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Practical Work | 22.5 | 0.9 | |
Seminars | 15 | 0.6 | |
Theoretical classes | 15 | 0.6 | |
Type: Supervised | |||
Tutorials | 7.5 | 0.3 | |
Type: Autonomous | |||
Personal work, analysis and synthesis of written/audiovisual texts | 37.5 | 1.5 | |
Preparing for practical work | 45 | 1.8 |
The subject consists of the following evaluation activities:
Participation in Seminars: 10% of the grade
Preparation of practical work: 10% of the grade
Screenplay: 30% of the grade
Written assignments: 50% of the grade
Attendance is mandatory in order to participate at the Continuous Assessment
Those who have not passed the continuous evaluation, (as well as those who have one or more unjustified absences), will have to take an exam including all the theoretical themes
To pass the practical part of the subject, students will develop the script of a professional short film, which will be supervised by the professor.
Students will be entitled to the revaluation of the subject. They should present a minimum of activities that equals two-thirds of the total grading.
To have access to revaluation, the previous grades should be 3,5.
The activities that are excluded from the revaluation process are those related to the writing of a script.
Plagiarism
The student who performs any irregularity (copy, plagiarism, identity theft...) will be qualified with 0 in this assignment or exam. In case there are several irregularities, the final grade of the subject will be 0.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Participation in Seminars | 10% | 1 | 0.04 | 14, 13, 7, 3, 8, 9, 10, 11, 15 |
Preparation of practical work | 10% | 1 | 0.04 | 8, 6, 12 |
Screenplay | 30% | 2.5 | 0.1 | 4, 5, 7, 8, 10 |
Written assignments | 50% | 3 | 0.12 | 1, 2, 6, 12 |
BIBLIOGRAPHY
BROWN, Larry A (2018): How Films Tell Stories. The Narratology of Cinema. Creative Arts Press.
CARRIÈRE Jean Claude i BONITZER, Pascal. (1998) Práctica del guión cinematográfico. Barcelona Paidós.
CHION, Michael. (2009) Cómo se escribe un guión. Madrid. Cátedra.
DUNHAM, Lena (2018): Dueñas del Show. Las Mujeres que están revolucionando las series de television DUEÑAS DEL SHOW. Joy Press / Alpha Decay
HAAG, Judith, (1989) The Complete Guide to Standard Script Formats: Part 1 y The Complete Guide to Standard Script Formats: Part 2, California.Taped Formats for Television, The Screenplay, CMC
LAVANDIER, YVES (1994): La dramaturgia. Los mecanismos del relato: cine, teatro, ópera, radio, televisión, cómic. Ediciones Internacionales Madrid, 2003.
LOPEZ IZQUIERDO, Javier (2009) Teoría del guión cinematográfico. Lectura y escritura. Ed Síntesis, Madrid 2009. Tema 2 sobre Retórica del guión. Pp 29-53
MACÍAS, Juana (2003) 24 palabras por segundo: cómo escribir un guión de cine. Instituto Oficial de Radio y Telelvisión (IORTV), Madrid, 2003.
MC KEE, Robert. (2002) El Guión: sustancia, estructura, estilo y principios de la escritura de guiones; traducción: Jessica Lockhart. Ed Alba, Barcelona.
MEAD, Rebecca Mead et Al. (2019) El cuento de la criada. Ensayos para una incursión en la república de Gilead. Errata Naturae.
PROPP, Vladimir. (1971) Morfología del cuento. Madrid. Fundamentos.
TUBAU, Daniel (2007) Las paradojas del guionista. Reglas y excepciones en la práctica del guión. Ed. Alba, Barcelona.
SEGER, Linda (2018) El secreto del mejor cine: El subtexto en el guion y en la novela. Ed. Rialp
SEGER, Linda (2001), ¿Cómo llegar a ser un guionista excelente?, Ediciones Rialp, Madrid
TIMBAL-DUCLAUX, Louis (1993) Escritura creativa: técnicas para liberar la inspiración y métodos de redacción. Madrid, EDAF
VOGLER, C. (2002) El viaje del escritor. Las estructuras míticas para escritores, guionistas, dramaturgos y novelistas. Ediciones Robinbook, Barcelona.
Professional Associations
Federation Screenwriters Europe http://www.scenaristes.org/
Writers Guild of America (WGA) http://www.wga.org/
Foro de Asociaciones de Guionistas Audiovisuales http://www.sindicatoguionistas.org/
Associació de Guionistes de Catalunya http://www.guionistes.cat/
Escriptors de l’Audiovisual Valencià http://www.edav.es/
Asociación Galega de Guionistas (AGAG) http://www.culturagalega.org/avg/index.php
Autores Literarios en Medios Audiovisuales (ALMA) http://www.asociacionalma.es/
On line resources
Sociedad General de Autores y Editores (SGAE) http://www.sgae.es/
Derechos de Autor de Medios Audiovisuales (DAMA) http://www.damautor.es/
El Portal del Guión http://www.abcguionistas.com/
Programa MEDIA http://ec.europa.eu/culture/media/index_en.htm
GARCIA SERRANO, Federico (2009) Las técnicas del “pitching” en el mercado audiovisual español: del “caramelo” al guión. En Congreso Internacional Brand Trends, 16/02/2009, Biblioteca Universidad Complutense http://eprints.ucm.es/8577/ ó http://eprints.ucm.es/8577/1/Pitching_del_caramelo_al_guion.pdf