3. Department of Communication Philosophy

Transcription

1 COMM 361 Scriptwriting Video/Film/Radio, Fall 2018 (Attributes: Film Studies) Tues & Thurs pm Room 103 McEwen Hall (Sheldon Lab) Pre-requisites: COMM 251 and COMM 255, or COMM 254 or Creative Writing or a Theater Production course, Minimum grade C- Ros Smith 314A McEwen Hall Office Hours: Wed 8am-noon Thurs 8am-noon and by appointment smithro@fredonia.edu Phone Fax: Cell: Course Description This course is designed to teach students the skills and techniques of fiction writing for film. Concepts, synopsis, treatments, outlines and feature length scripts will be covered. There is an emphasis on traditional, modern and post-modern dramatic structure with units on character, dialogue, setting, and visual narration. Students practice writing scripts that convey messages in a clear effective direct style that communicates to specific audiences. 2. Rationale Understanding the power of picture and sound is fundamental to creating stories for film and television. Scriptwriting is a specialized writing form and the basis of all film and television storytelling. Each have it s own format, which varies from narrative formats to TV news rundowns. It is important that students recognize how these formats work. 3. Department of Communication Philosophy Communication does not exist outside of relationships. With this in mind, faculty of the SUNY Fredonia Department of Communication believe that all communicators, whether in the classroom, on the air, or within created works, have a responsibility to themselves and their audience. The faculty believes that it is our responsibility to provide perspective and structure as students make choices about their work, and consequently, about themselves and who they are as adults and scholars. We encourage students to make the effort to consider the consequences of their choices for themselves, for others, and for those relationships. The faculty encourages projects and behaviors that are undertaken with thoughtful respect and consideration for others. We support and encourage work that is both ethical and enriching to the students community and to personal and professional relationships. All students should review the Department of Communication Ethical and Professional Standards at

2 4. Department of Communication Ethical and Professional Standards The Department of Communication at SUNY Fredonia advocates the following standards of behavior for all students. *Students should adhere to individual instructors more specific policies. Additional information on the SUNY Fredonia policies regarding Student Rights and Responsibilities can be found at Plagiarism To plagiarize is to steal and pass off as one s own the ideas or words of another (Webster s Seventh New Collegiate Dictionary). Examples of plagiarism include presenting the ideas of another in one s own words without crediting the source, copying sentences, paragraphs, or pages form a source without explicit reference to the pages from which the words were taken, and, of course, presenting another s entire work as one s own. If a student is not certain whether a particular practice may be considered plagiaristic, it is his/her responsibility to consult the instructor for whom he/she is writing the paper, exercise, or examination. SUNY Fredonia strongly condemns plagiarism and takes severe action against those who plagiarize. State University of New York at Fredonia College Catalog htttp:// COMPLIANCE WITH 504 REHABILITATION ACT/ADA Reasonable accommodations are available to students with documented disabilities at SUNY Fredonia. Students who may require such accommodations should contact the Office of Disability Support Services for Students, 4th Floor, Reed Library. Tel (716) disablity.services@fredonia.edu You will be given an accommodation letter which should be forwarded to me WITHIN THE FIRST WEEK OF COURSE. I will be able to discuss your needs in detail with you. FEDERAL EDUCATION RIGHTS AND PRIVACY ACT (FERPA) 1974 Registration and continued enrollment in this class constitutes permission for your work to be use during class for educational purposes. On course completion your work will either be rendered anonymous or if not then written permission obtained from originator. For detailed information visit 5. Textbooks: Required: Field, Syd. Screenplay: The Foundations of Screenwriting. Bantam Dell, New York, NY ISBN 13: ISBN-10: Materials and Supplies: Technology Needed: Mac computer (in Sheldon lab). Student must have their own 8G flash. If you do not have these you cannot participate in class. Software: Celtx scriptwriting software (free download) 6. Course Goals and Examine storytelling through story structure, character and point of view. Identify the elements of story structure: setting, genre, character, theme, plot and meaning Identify the elements of story design: protagonist, antagonist, inciting incident; the hook, crisis, climax, resolution Incorporate the fundamentals of storytelling into a narrative work. Apply the elements of a story to an original narrative work Select from various models of the storytelling process Develop believable characters

3 Create a short narrative film script no more than 15 pages in length 7. Instructional Methods and Activities Lectures introduce the concepts. Screenings of clips, still images, sound recordings and web pages are used to illustrate the topics and act as a springboard for discussion. Discussion following each lecture/screening to foster students critical thinking skills in analyzing what media producer trying to elicit from audience and does producer succeed. Students expected to compare/contrast the audio visual material and analyze technical aspects and content/themes of the media. Students are expected to incorporate concepts from the readings and to draw upon knowledge gained in other classes. It is essential for students to come to class having completed the readings and prepared to talk. Activities include: Lecture/Discussion Close analysis of narrative scripts Critiquing other students work Individual production of creative work Small group discussions Examinations and quizzes 8. Evaluation and Grading Assignments All written assignments must be typed and stapled otherwise they will not be accepted LATE ASSIGNMENTS/PROJECTS/PRESENTATIONS NOT ACCEPTED UNLESS PRIOR ARRANGMENT MADE AT LEAST 24 HOURS IN ADVANCE Written Assignment 1 Written Assignment 2 Written Assignment 3 Written Assignment 4 Written Assignment 5 Written Assignment 6 Final Assignment Oral Assignment 1 5% of grade Observational exercise 5% of grade Formatting 5% of grade Title, tagline for final assignment 5% of grade Protagonist Character Bio 5% of grade Antagonist Character Bio 5% of grade Synopsis for final assignment 25% of grade 10 minute screenplay 5% of grade Pitch script for final assignment Mid term and Final Exams - 10% of grade (5%, 5%) The midterm and final exam will consist of essay and multiple choice/short answer questions.

4 Quizzes x 3-15% of grade (5% each quiz) Quizzes are used to encourage students to read and retain the assigned readings. Participation and Professionalism 15% of grade see attendance too Tardiness, non attendance as well as non participation in activities will lose at least 5 points for each event. If you are not attending class or know you will be late you must text me to inform me of this on Attendance Unexcused absences and arriving late adversely affect your final grade. You are tardy if you arrive after I have called the roll. If you do arrive late, please let me know so that it is recorded correctly in the roll book at a tardy rather than as an absence. Grading If a student is unable to meet the deadline for an assignment, he or she must make arrangements with the instructor in advance. Otherwise no late papers will be accepted. Quizzes x 3 5% each quiz = 15% Written Assignment x 6, 5% each 30% Oral Assignment 5% Mid Term and Final Exam 5% each 10% Final Assignment 25% Professionalism and Participation 15% B C D F below 60 A B C D A B C D

5 Course Schedule is subject to change according to student and professor needs 9. Schedule WEEK ONE - August 28th INTRODUCTION AND FINDING IDEAS FOR STORIES Discover ways to find stories Determine ways in which to practice writing skills Reading: Field, Ch 1 and 2 Workshop/Lecture: Now that s a good idea WEEK ONE - August 30 th NARRATIVE STRUCTURE 1. Know the correct length of a feature screenplay 2. Able to determine length, time of 3 act structure of a feature screenplay 3. Able to translate this information for a 10 minute short narrative Reading: Field, Ch 1 and 2 Workshop/Lecture: Building blocks HOMEWORK: ASSIGNMENT ONE OBSERVATIONAL EXERCISE - WEEK TWO Sept 4 th FORMATTING THE SCREENPLAY Discover rules for correct formatting Utilize the correct paper size, font, layout Create correct format of a title page Utilize correct placement of taglines, screen directions, sluglines Utilize correct character name placements and their dialogue ASSIGMENT ONE: OBSERVATIONAL EXERCISE DUE Reading: Field, Ch 13 Workshop/Lecture: I feel the need for. formatting WEEK TWO Sept 6h Format a story into a script Differentiate between literary writing and scriptwriting Develop skill in visual writing Reading: powerpoint on screenplay mistakes Workshop/Lecture: It s all scripting to me ASSIGNMENT TWO COMMENCE IN CLASS: Format Assignment and tagline and catch the mistakes

6 WEEK THREE Sept 11th THREE ACT STRUCTURE 1. Breakdown narrative script structure 2. Determine the six main key turning points of a screenplay ASSIGNMENT TWO DUE FORMAT AND TAGLINE Reading: Field, Ch 7, 8, 9, 14 Workshop/Lecture: 3 act structure WEEK THREE Sept 13th THREE ACT STRUCTURE 1. Understand terms such as the central dramatic question, 2. Discover how to hook the audience and create foreshadowing Reading: Field, Ch 7, 8, 9, 14 Workshop/Lecture: More acts WEEK FOUR SEPT 18 TH NO CLASSES PROFESSIONAL DEVELOPMENT DAY WEEK FOUR SEPT 20 TH EARLY STAGES IN SCRIPT DEVELOPMENT 1. How to manage movie crisis in the screenplay 2. Differentiate between the catalyst versus the Big Event 3. Creating a satisfying ending for audience Reading: Field, Ch 1, 2 Workshop Lecture: Show Don t Tell QUIZ ONE WEEK FIVE SEPT 25TH EARLY STAGES IN SCRIPT DEVELOPMENT 1. Describe a concept for their final project 2. Commence the creation of Title, tagline for final project 3. Understand and create taglines Reading: Field, Ch 1, 2 Workshop Lecture: More Show Don t Tell

7 Pitch story for final project Conduct critique and revision WEEK FIVE - Sept 27 TH THE PITCH Reading: powerpoint on The Pitch ASSIGNMENT THREE DUE TITLE and TAGLINE for FINAL PROJECT ORAL ASSIGNMENT ONE - Pitching your story for final project. 28 words or less WEEK SIX October 2 nd CHARACTERS - PROTAGONIST 1. Understand dynamic between archetype versus personality 2. Determine 5 main questions concerning a character, the protagonist 3. Determine main goal/s needs and wants of a character Reading: Field, Ch 3, 4, 5 Workshop/Lecture: Creating a goodie WEEK SIX October 4 th CHARACTERS - PROTAGONIST 1. Discover how to create pivotal characters 2. Outline strengths and weakness of a character 3. Start to create a character biography of a protagonist Reading: Field, Ch 3, 4, 5 Workshop/Lecture: Creating more goodies COMMENCE ASSIGNMENT FOUR - character protagonist biography WEEK SEVEN MIDTERMS OCTOBER 9 th ASSIGNMENT FOUR DUE CHARACTER BIO PROTAGONIST WEEK SEVEN OCTOBER 11 th NO CLASSES

8 WEEK EIGHT October 16 th CHARACTER - ANTAGONIST 1. Understand differences between antagonist and protagonist 2. Determine 5 main questions concerning a character, the antagonist 3. Outline strengths and weakness of antagonist 4. Start to create a character biography of antagonist Reading: Field, Ch 3, 4, 5 Workshop/Lecture: Creating unforgettable characters WEEK EIGHT October 18 th CHARACTER - ANTAGONIST Understand differences between antagonist and protagonist Determine 5 main questions concerning a character, the antagonist Reading: Field, Ch 3, 4, 5 Workshop/Lecture: Oh evil one! Commence Assignment FIVE Character Bio - Antagonist WEEK NINE October 23 rd THE SYNOPSIS Create a synopsis for final project Understand why a synopsis is useful Reading: powerpoints on Oncourse week 9 Workshop/Lecture: Make it succinct Assignment FIVE DUE Character Bio - Antagonist Recognize basic structure of a scene Know difference between scene and sequence WEEK NINE October 25 th CRAFTING THE SCENE Reading: Reading: Field, Ch 10, 11, 12 Workshop/Lecture: Analyzing scenes and structure. What makes a good movie. Commence Assignment Six Synopsis

9 WEEK TEN October 30 th CRAFTING THE SCENE Students will create an original scene Beats, resistance and tension Able to recognize The Big Event, conflict, complications and turning points ASSIGNMENT SIX DUE SYNOPSIS FOR FINAL ASSIGNMENT QUIZ TWO Reading: Field, Ch 6, 8, 9 Lecture: Get in late, get out early WEEK TEN November 1st 1. Understand how first act and catalyst is created 2. Develop themes 3. Recognize conclusions, resolutions and audience payoff Reading: Field, Ch 6, 8, 9 Lecture: I am your father! WEEK ELEVEN November 6 th & 8 th CRAFTING DIALOGUE Recognize difference between real conversation versus film dialogue Discover technique to capture real film dialogue Reading: powerpoints week 11 Lecture: You talking to me? WEEK TWELVE - November 13 th & 15 th MORE CRAFTING DIALOGUE Recognize difference between real conversation versus film dialogue Discover technique to capture real film dialogue Reading: powerpoints week 12 Lecture: You talking to me?

10 WEEK THIRTEEN THANKSGIVING BREAK NO CLASSES WEEK FOURTEEN November 27th FINE TUNING YOUR SCRIPT Cold readings 1. Cold reading of first draft of script to be distributed to each student and read aloud 2. Critiquing to be performed by all in class 3. Able to take constructive criticism and make changes to bring script forward QUIZ THREE No readings this week. WEEK FOURTEEN November 29th FINE TUNING YOUR SCRIPT Cold readings continued 1. Cold reading of first draft of script to be distributed to each student and read aloud 2. Critiquing to be performed by all in class 3. Able to take constructive criticism and make changes to bring script forward No readings this week. WEEK FIFTEEN: December 4 th FINE TUNING YOUR SCRIPT Cold readings continued 1. Cold reading of first draft of script to be distributed to each student and read aloud 2. Critiquing to be performed by all in class 3. Able to take constructive criticism and make changes to bring script forward No readings this week. WEEK FIFTEEN: December 6 th REWRITING: MAKING THE SCRIPT UNFORGETTABLE! 1. Students to determine how to ensure acts, plot turning, pinch points, work 2. Students ensure conflicts and resolution works for audience 3. Perfecting of script to keep it visual Reading: Field, Ch 16, 17, 18 Lecture: Unforgettable, that s what you are

11 WEEK SIXTEEN December 11th POLISHING THE SCRIPT Open lab for polishing script WEEK SIXTEEN December 13h LAST DAY OF CLASS REVIEW FINAL SCRIPT DUE WEEK SEVENTEEN FINAL EXAMS TBA