Module Code fm2010 Module Name – Screenwriting and Narrative Theory Module Booklet for 2011-12



Download 304.73 Kb.
Page1/3
Date08.03.2017
Size304.73 Kb.
  1   2   3
Module Code - FM2010

Module Name –

Screenwriting and Narrative Theory
Module Booklet for 2011-12

For student completion:

Day



Room



Time




                                                                                                          
Module detail


Credits

20

Module leader

Jonathan Hourigan. No office or office hours. Available during teaching hours only. Exceptionally, by pre-arrangement, via jonathan.hourigan@btopenworld.com

Assessment

Coursework 100% (Creative and Theory submissions, 50% each)

Assessment Dates

Submission by 1pm on Tuesday, 27th March, 2012


                                                                                                          


Access to support material

Support material is provided electronically via the University’s u-Link system. You can gain access to the u-Link system via the following web page:



  • http://www.brunel.ac.uk/intranets/weblearn/

                                                                                                          
INTRODUCTION:
Welcome to the Screenwriting and Narrative Theory Module, FM2010.
Through lectures, workshops, reading and assignments the module introduces students to the art, craft and theorisation of screenwriting and to narrative theory.
The module should be enjoyable, challenging and stimulating. It should enrich your understanding of moving image culture, theory and practice, as well as introduce you to the world of professional screenwriting.
The module leader, Jonathan Hourigan, is a graduate of Oxford University and the National Film and Television School. He is a writer, director, script consultant and teacher. He has taught screenwriting and narrative theory at Brunel University for several years.
MODULE DESCRIPTION:
The module introduces students to the role of narrative in culture and society, to narrative theory and to the professional practice and theorisation of screenwriting.
The module is substantially practice-based and all students will write an original screenplay to a maximum length of 10 pages as well as supporting documents such as a Story Proposal and Step Outline. The module also requires students to analyse films and scripts – including their own and contemporaries’ - from a screenwriting and theoretical perspective.
Main Aims:

  1. To familiarise students with the discourse, conventions and practices of screenwriting, with particular emphasis on structure, plot, characterisation, theme, dramatisation and visualisation.



  1. To introduce students to the theoretical and practical literature on narrative and screenwriting, which underpins much screenwriting practice.





  1. To offer students the opportunity to produce their own short screenplay.

                                                                                                          
Learning outcomes
There are learning outcomes that you must achieve in order to be awarded the credits for this module.  They are listed below:-
The module provides opportunities for students to demonstrate knowledge, understanding, qualities, skills and other attributes in the following areas:
Knowledge and Understanding:


  1. Evaluate key debates in narrative theory and screenwriting




  1. Understand the conventions of screenwriting


Cognitive Skills:


  1. Analyse screenplays and the narrative structures of films


Other Skills (Practical/Professional/Transferable):


  1. Write screenplays and supplementary documents, including proposals and outlines.

5. Develop transferable skills such as working in groups and practicing informed, constructive criticism of one other’s work.

                                                                                                          
Method of teaching
Each week, the lecture addresses an aspect of the subject, creative or theoretical.
Weekly workshops extend learning in these areas and contribute to the development of creative and theory assignments.
As the module progresses, some workshops may be structured to provide students with individual tutorial support.
The module requires active participation and extensive reading from students.

The module requires the completion of specified weekly self-directed exercises.

Participation:
The module requires the active participation of all students.
Participation includes not only compulsory attendance at all lectures, screenings, workshops and tutorials but also significant and consistent contributions to these activities and the completion of all weekly reading and written assignments.
As guidance:
Reading:
The module outline includes reading for each week. Students MUST have read at least two items of the specified primary reading before each week’s session. It is vital that students do this in order to benefit from the lecture and seminar.
Evidence of wide reading and engagement with ideas raised in the reading are key assessment criteria.
It is also crucial that students read as many screenplays as possible. Preferably in ‘production format’. A good source for such screenplays is www.dailyscript.com
Workshops and Tutorials:
Each week there will be practical exercises during the workshops.
It is crucial that you complete all practical work outlined in the week-by-week guide before you come to the lecture/workshop as discussions and exercises will be based on this work.
The module is constructed so that by doing this, you will automatically be developing your script as well as your capacity to analyse that creative work.
You should also contribute critically and constructively in discussion and analysis of other students’ work.
For the purposes of this module, it is advisable that students watch (i) as many short films as possible, to familiarise themselves with the format and (ii) feature films similar in theme, narrative, characterisation, style or genre to their own project.
Evidence of wide viewing and engagement with ideas raised by such viewing are key assessment criteria.

                                                                                                          

Teaching Programme

The Term 2 Research Week for 2011-12 will be as follows:-


13/02/2012

to

17/02/2012

This module is taught in term two only.




TERM 2


16

09/01/2012

to

13/01/2012




17

16/01/2012

to

20/01/2012




18

23/01/2012

to

27/01/2012




19

30/01/2012

to

03/02/2012





20

06/02/2012

to

10/02/2012




21

13/02/2012

to

17/02/2012

ASK/RESEARCH WEEK – NO TEACHING

22

20/02/2012

to

24/02/2012




23

27/02/2012

to

02/03/2012




24

05/03/2012

to

09/03/2012




25

12/03/2012

to

16/03/2012




26

19/03/2012

to

23/03/2012




27

26/03/2012

to

30/03/2012





TERM 2 – OVERVIEW:
Week 1 Lecture: Introduction

Workshop: Generating and Developing Ideas

Exercise: Generate Ideas
Week 2 Lecture: Narrative, Structure and Meaning

Workshop: Review, Select and Develop Ideas. Format.

Exercise: Develop Ideas
Week 3 Lecture: Exposition and Dialogue

Workshop: Review/Develop Ideas

Exercise: 1st draft Story Proposal, Step Outline or Screenplay extract
Week 4 Lecture: The Short Film

Workshop: Review/Develop First Drafts


Exercise: 1,000 word Film Analysis
Week 5 Lecture: Classical & Alternative Structures

Workshop: Review Analyses

Exercise: 1st Draft Screenplay
Week 6 READING/RESEARCH WEEK


Week 7 Lecture: Plot, Character and Theme

Workshop: Review/Develop 1st Draft Screenplays

Exercise: 2nd Draft Screenplay
Week 8 Lecture: Imagery, Mise-en-Scene & Sound

Workshop: Review/Develop 2nd Draft Screenplay

Exercise: Script Proposal and Step Outline

Render consistent with Screenplay


Week 9 Lecture: The Theorisation of Practice

Workshop: Review/Develop Story Proposals, Step Outlines and Screenplays

Exercise: Synopsis for Screenplay Analysis
Week 10 Lecture: The Insufficiency of the Screenplay and Writers’ Practice

Workshop: Review/Develop synopses for Screenplay Analysis

Exercise: 3rd Draft Screenplay. Consistent Story Proposal and Step Outline
Week 11 Lecture: IN SIGHT OF LAND;

Theorisation of Practice

Workshop: Review/Develop 3rd Draft Screenplays, Story Proposals and Step Outlines

Exercise: Complete Script Proposal, Step Outline, Screenplay, Screenplay Analysis

Week 12 Lecture: Review and Final Guidance

Workshop: Review/Develop/Render consistent Story Proposals, Step Outlines, Screenplays and Analyses

Exercise: Complete creative and theoretical submissions for assessment.

WEEK BY WEEK GUIDE TO LEARNING SESSIONS:
Week 1 – Lecture and Screening: INTRODUCTION

Introduction to module, assignments and assessment.

Screening and analysis: JOYRIDE (10’). Paradigm of conventional structure.
Workshop:

Generating, assessing and developing Short Film Ideas.


Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) Carol Ann Duffy’s poem, WISH

(ii) Generate 2 Short Film Ideas for consideration for development.
Reading: (To be completed before next week’s Lecture)

Cooper and Dancyger Writing The Short Film, Chapters 1, 2, 5

Batty and Waldeback Writing for the Screen, Intro, Chapters 1, 2

McKee Story, Introduction, Chapters 1, 2, 19

Vogler The Writer’s Journey, Intro, Practical Guide

Aronson Screenwriting Updated, Chapters 1-6

Week 2 – Lecture and Screening: NARRATIVE, STRUCTURE AND MEANING

Theory and Practice of Screenwriting. The creation of Meaning.

Screenplay architecture. Three Act Structure and its successors. Alternatives. Plot, Character, Theme, Imagery and Dialogue.

Escalation and Oscillation. Action and Conflict.

Screening and analysis: GASMAN (15’).

Workshop:

Review Short Film Ideas. Agree and develop each student’s Idea.

Format for Story Proposal, Step Outline and Screenplay.
Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) Develop agreed Short Film Idea.
Reading: (To be completed before next week’s Lecture)

Cooper and Dancyger Chapters 6 and 7


Batty and Waldeback Chapters 3, 6, 9, 10


Dancyger and Rush Alternative Scriptwriting, Chapters 1-4, 8-12

Aronson Chapters 7-12



Week 3 - Lecture and Screenings: EXPOSITION AND DIALOGUE

Screening and analysis: ABOUT A GIRL (10’) and INSIDE OUT (7’)

The provision of information. Curiosity and emotion.

Individual voices. Dialogue and characterisation.


Workshop:

Review and develop Short Film Ideas.


Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) Either first draft Script Proposal, Step Outline, or 3 pages of Screenplay.
Reading: (To be completed before next week’s Lecture)

Cooper and Dancyger Chapters 12, 13, 14, 15

McKee Chapter 17

Ryan Scriptwriting from the Heart, Chapters 1, 2, 4, 5, 6, 9, 10

Seger Making a Good Script Great, Chapters 9-12

Week 4 – Lecture and Screenings: THE SHORT FILM

History of the short film. The variety of short film genres and formats. The role of technology and commerce.

Screening and analysis: FATHER & DAUGHTER (8’), COPY SHOP (12’). Varieties of alternative short film structures.

Workshop:

Review and develop first draft material.



Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) 1,000 word Film Analysis.

Reading: (To be completed before next week’s Lecture)

David Bordwell Narration in the Fiction Film, esp. Chapter 9

Geoff King New Hollywood Cinema, esp. Chapter 6

Bordwell & Thompson Film Art

Phillips Understanding Film Texts

Week 5 - Lecture: CLASSICAL & ALTERNATIVE STRUCTURES:

The history, development, characteristics, meanings, ideology and world view of Classical or Hollywood cinema and of its alternatives.

This lecture will inform both creative and theoretical assignments.
Workshop:

Review Analyses.


Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) First draft Screenplay.
Reading: (To be completed before next week’s Lecture)

Cooper and Dancyger Chapters 4, 8, 9, 10


Batty and Waldeback Chapters 5, 12


McKee Chapters 5-8, 13, 14
Week 6 – Research Week
Week 7 - Lecture: PLOT, CHARACTER AND THEME

Relationship between these elements. Their development and integration.

Beginnings, Second Acts, Climaxes and Resolutions.

Antagonism, sub-plots, pace and rhythm.


Workshop:

Review and develop first draft Screenplays.

Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) Second draft Screenplay.
Reading: (To be completed before next Lecture)

Ryan Chapter 7

Seger Chapters 1, 2, 5, 6


Week 8 - Lecture: IMAGERY, MISE-EN-SCENE AND SOUND

Visualisation, dramatisation and imagery.

The myriad visual, aural and other strategies available to writers and directors. The relationship between writer and director.

Workshop:

Review and develop second draft Screenplays.


Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) Script Proposal and Step Outline. Render consistent with Screenplay.
Reading: (To be completed before next week’s Lecture)
Cooper & Dancyger Chapters 3, 11

Batty and Waldeback Chapters 4, 7, 8, 11


Seger Chapters 7 and 8


Vogler Book One, pages 33-92 inclusive
Week 9 - Lecture: THE THEORISATION OF PRACTICE

The craft, critical and ideological theorisation of practice.

Content, key concepts, format and process for Analysis of development and completed screenplay.
Workshop:

Review and develop Story Proposals, Step Outlines and Screenplays.


Self-Directed Exercises: (Delivery during the following week’s Workshop.

(i) Synopsis for Screenplay Analysis.

Reading: (To be completed before next week’s Lecture)

Batty and Waldeback Chapters 13, 14

Vogler Book Two and Epilogue

Week 10 – Lecture: THE INSUFFICIENCY OF THE SCREENPLAY AND WRITERS’ PRACTICE

What to leave out. What can never be included!

Also, First drafts. Rewriting. Script editing. Collaboration. Adaptation. Industry practices. Film and Television.

Workshop:

Review and develop synopses for Screenplay Analysis.



Self-Directed Exercises: (Delivery during the following week’s Workshop.

(i) Third draft Screenplay. Plus consistent Story Proposal and Step Outline.

Reading: (To be completed before next week’s Lecture)

Either: Goldman Adventures in the Screen Trade

Or: Dunne Monster – Living off the Big Screen
Week 11 - Lecture: IN SIGHT OF LAND; THEORISATION OF PRACTICE

Screening of IN SIGHT OF LAND (24’, director: JH). Theorisation of practice in accordance with principles from Week 9 Lecture.


Workshop:

Review and develop third draft Screenplays, Story Proposals and Step Outlines.


Self-Directed Exercises: (Delivery during the following week’s Workshop)

(i) Script Proposal, Step Outline and Screenplay. (ii) Draft Analysis.

Reading: (To be completed before next week’s Lecture)
Continue and complete Cooper and Dancyger,

Dancyger and Rush

Batty and Waldeback

Seger, Vogler, Goldman, Dunne


Week 12 - Lecture: REVIEW AND FINAL GUIDANCE

Summary and review of module. Final Guidance for students.


Workshop:

Review, develop, final guidance and render consistent Script Proposal, Step Outline, Screenplay and Draft Analysis.

Self-Directed Exercises: Complete for final submission and assessment:


  1. Story Proposal

  2. Step Outline.

(ii) Screenplay for assessment.

(iii) 2,000 word Analysis (Theorisation of Practice).

                                                                                                          

Brunel University

Generic Undergraduate Grade Descriptors




Share with your friends:
  1   2   3


The database is protected by copyright ©hestories.info 2019
send message

    Main page