Logo UAB
2020/2021

Drama and Cinema Scripts

Code: 103066 ECTS Credits: 6
Degree Type Year Semester
2501928 Audiovisual Communication OT 3 0
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Carmen Avalos del Pino
Email:
MariaDelCarmen.Avalos@uab.cat

Use of Languages

Principal working language:
spanish (spa)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
Yes

Prerequisites

there are no prerequisites

Objectives and Contextualisation

- 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

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

  1. Apply theoretical principles to boost the effectiveness of audiovisual narratives.
  2. Be familiar with the narrative and dramatic forms of other media to adapt them to audiovisual narration.
  3. Demonstrate a critical and self-critical capacity.
  4. Demonstrate a self-learning and self-demanding capacity to ensure an efficient job.
  5. Demonstrate ethical awareness as well as empathy with the entourage.
  6. Develop aesthetic sensitivity to create audiovisual products.
  7. Develop autonomous learning strategies.
  8. Develop critical thinking and reasoning and be able to relay ideas effectively in Catalan, Spanish and a third language.
  9. Disseminate the area’s knowledge and innovations.
  10. Generate innovative and competitive ideas in research and professional practice.
  11. Manage time effectively.
  12. Promote innovations in the development of audiovisual narratives.
  13. Show leadership, negotiation and team-working capacity, as well as problem-solving skills.
  14. Use one’s imagination with flexibility, originality and ease.
  15. Value diversity and multiculturalism as a foundation for teamwork.

Content

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

 

 

Methodology

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.

Activities

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

Assessment

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.

Assessment Activities

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

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