Screenwriting Course Overview 2012
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ScribdTranslationsScreenwriting Course Overview 2012
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UNIVERSITY OF CINEMA
FACULTY OF CINEMATOGRAPHY AND VISUAL ARTS
SCREENPLAY I
First/Second semester
Año: 2012
Coordinating professor: Rodolfo Otero
Saula Benavente
Mariano Llinás
Clara Ambrosoni
Patricia Vignolo
Pablo Bardauil
Practical work leaders: Virginia Dávalos
Dolores Espeja
Agustín Mendilaharzu
Luz Márquez
Angels Rizzone
1. General Objectives
The main objective of the subject is to connect the
students with the theory and practice of the script
cinematographic, in order that:
Recognize the specific writing needs
for cinema, identifying the script as a type of work
literary with its own requirements regarding form and
background.
Understand the importance of the script as a starting point
departure of cinematic creation.
Compare the cinematic writing with the theatrical one and
the literary narrative, establishing the similarities and
differences between the three means.
They can evaluate the feasibility of execution and
production of a script, based on the comparison of what was learned
in the subject with the content of other subjects from the
race.
Analyze scripts identifying their form
particular, as well as its dramatic and narrative structure to
service of cinematic language.
They are able to write short scripts and
feature films, ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﺭﻭﺍﺋﻴﺔ ﺃﻭ ﻭﺛﺎﺋﻘﻴﺔ.
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In this way, the subject aims to awaken possible
vocations and contribute to the technical improvement of
qualified authors to tackle this vital discipline
for the future development of our cinema; or
provide important specific knowledge to
those who perform other roles in the process of
creation of the cinematic fact.
2. Specific objectives
1. That the student acquires knowledge of the
basic fundamentals of the script, and apply it through
specific practices of the subject, as well as
practices planned jointly with other areas, in
specific Address.
2. That the student knows the functions and importance
from the script in a film production.
3. That, ultimately, acquires theoretical knowledge-
practical of the film script, training to
read, interpret, manage correctly and eventually
draft treatments and scripts.
3. Contents
PART I: THE TECHNICAL CONSTRUCTION
1. The specificity of cinematic language.
The script as a narrative form with characteristics
own grammatical and syntactical features.
2. External structure of the script.
2.1. The plot. The action and the dramatic representation.
2.2. Screenwriting: description of actions in
present tense and in third person.
2.3. Structural units: concept of "take", "scene" and
sequence
Technical notes referred to place and time.
2.4. Script formats: one or two columns.
3. Forms of the script.
3.1. Central idea. Synopsis. Plot line.
3.2. The research: elements of information
indispensable.
3.3. Treatment. Evaluation and structural development.
3.4. The literary script. Its writing.
3.5. The technical script. Planning the use of shots,
angles and camera movements.
3.6. The layout and the 'storyboard'.
4. Technical elements to consider in construction
of the script.
4.1. The space - the set - the 'locations' - the
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props
the music.
4.2. Working with actors in the construction of the script.
4.3. Collaboration with the director prior to filming.
PART II. THE DRAMATIC CONSTRUCTION
1. Generic idea. The meaning of cinematic discourse.
1.1. Idea of conflict. Its necessity as an element of
organic cohesion of the narrative.
The premise. Explicit and implicit history.
2. The characters.
2.1. Characterization: physical, social and
psychological.
2.2. Preliminary design: biography and daily life.
2.3. Design based on the situation. Action and reaction.
Speech and behavior patterns.
2.4. Typology. Type, stereotype, prototype, archetype.
2.5. Presentation of the characters. Determination of their
objectives.
2.6. Unit of opposites. Separation of affinities.
2.7. Development and modification. Learning.
3. The dialogue.
3.1. Its specific functions in the narrative
cinematographic.
3.2. Various styles and classic examples.
3.3. The off narration.
3.4. Sound in dramatic function.
4. The filmic dramatic structure.
4.1. The basic three-act structure: presentation,
confrontation, resolution.
4.2. The plot points.
4.3. The end and the beginning: relationship of double implication.
4.4. The premise or central idea.
4.5. The conflict. Opposites and the principle of contradiction.
Secondary conflicts.
4.6. The transition.
4.7. Successive parts of the narrative structure and
dramatic: from the initial balance to the new balance.
Introduction; setup, point of attack; first plot
point.
Development. Knot. Confrontations and transitions.
Second plot point.
Outcome: the climax. Open or closed ending.
5. Other elements of narrative and dramaturgy
filmic.
5.1. The information. Its dosage.
5.2. The dramatic progression. The ellipsis.
5.3. The tension; the suspense; the surprise.
5.4. The likelihood.
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6. Space and time in the script.
6.1. Space and perception.
6.2. The point of view. Implicit author and evident author.
Evident narrator.
6.3. What is shown and what is suggested. The spatial ellipsis.
6.4. Time. Modifications of duration. Ellipsis
temporal.
Management of simultaneity.
6.5. Order modifications. Flashback and flash forward.
6.6. Cinematic time and the spectator. Rhythms.
Tension and relief.
7. Introduction to adaptation
7.1. Basic criteria for adapting a narrative text.
7.2. Basic criteria for adapting a dramatic text.
7.3. Reality-based sources: biography, articles
journalistic pieces, historical chronicles.
7.4. Laremake.
[Link] work system
During the course, various practical assignments will be carried out.
of writing, which will include those detailed in
continuation:
1. Write a purely visual scene, based on a
narrative proposal.
2. Create a character.
Combine the created characters to develop a
history from their interaction.
3. Write a scene of conflict with partial resolution.
Write a transition scene based on the previous one.
4. Write a scene where dialogue is the main element.
more important.
5. Write the same scene from different perspectives
view
5. Evaluation system
The practical work will be evaluated by the heads.
respective, with an overall passing grade or
disapproval.
4.1. Partial exams
Two will be taken during the year, which
will consist of a theoretical questionnaire to be answered by
written.
4.2. Final exam
It consists of two stages: the presentation of a script of
Short film and an oral presentation about the
Program contents.
6. Bibliography
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PART I: THE TECHNICAL CONSTRUCTION
BAL, Mieke - Theory of Narrative, Ed. Cátedra, Buenos
Air
CARRIERE, Jean-Claude and BONITZER, Pascal (1992)- The End:
Screenwriting Practice, Barcelona, Ed. Paidós
COMPARATO, Doc- The Script, Buenos Aires, Eudeba, 2nd Edition
(1998)
FELDMAN, Simón - The Screenplay - Buenos Aires, Ed.
Gedisa
Zen and the Art of Screenwriting
Silman James Press, Los Angeles
Adventures in the Screen Trade
New York, Warner Books
VALE, Eugene- (1982) Film Script Techniques and
Television, Barcelona, Ed. Gedisa, 1989.
PART II: DRAMATIC CONSTRUCTION:
The Shawshank Redemption
Script- New York, Newmarket Press, 1996
EGRI, Lajos - How to Write a Drama
ESPINOSA, LITO and MONTINI, G. - Once upon a time... How
write a script, Buenos Aires, Ed. CP-67
FIELD, Syd- (1984) Screenplay, New York, Dell Publishing.
(2005) - Revised edition
The Screenwriter’s Workbook
Dell Publishing
FOUR SCREENPLAYS
Publishing.
FIELD, Syd- (1998) The Screenwriter’s Problem Solver, New
York, Dell Publishing
GUTIERREZ ESPADA, L.- Film Narrative, Madrid, Ed.
Pyramids.
Writing Screenplays that Sell
York, Harper Perennial
HOWARD, David and MABLEY, Edward- (1993) The Tools of
Screenwriting, St. Martin’s Griffin, New York
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KIESLOWSKI, KRZYSZTOF and PIESEWICZ, KRZYSZTOF - Red
Barcelona, 1995
McKEE, Robert (1997) - Story: Substance, Structure, Style,
and the Principles of Screenwriting- New York, Harper-
Collins
SEGER, Linda (1987) - How to Make a Good Script a Script
Excellent, Madrid, RIALP, 1991
Creating Unforgettable Characters
York, Henry Holt
SEGER, Linda- (1992) The Art of Adaptation: Turning Fact
and Fiction into Film, New York, Henry Holt
SEGER, Linda and WHETMORE, Edward Jay- (1994) From Script to
Screen - The Collaborative Art of Filmmaking
New York, Henry Holt
Advanced Screenwriting
Silman-James Press
SWAIN, Dwight - Film Script Writing, London, Focal Press.
Screenwriting
American Library
[Link]
RED, script by Krysztof Kieslowski and Krzysztof Piesiewicz
DREAMS OF FREEDOM (THE SHAWSHANK REDEMPTION), script by
Frank Darabont adapted from the novel by Stephen King
PULP FICTION (VIOLENT TIMES)
Tarantino
MAGNOLIA, script by Paul Thomas Anderson
HERO, screenplay by Zhang Yimou, Li Feng, and Wang Bin
THE LORD OF THE RINGS, screenplay by Peter Jackson, Philippa
Bowens and Fran Walsh, adapted from the novel by J.R.R.
Tolkien
STRANGE GLIMMER OF A MIND WITHOUT MEMORIES, script of
Charles Kaufman
STRANGER THAN FICTION, script by Zach Helm
Fragments from many other feature films and shorts
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Rodolfo Otero
Coordinator Professor