| Code |
16540
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| Year |
1
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| Semester |
S1
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| ECTS Credits |
6
|
| Workload |
OT(15H)/TP(45H)
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| Scientific area |
Cinema
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|
Entry requirements |
The student must:
1. Be fluent in oral and written Portuguese.
2. Know how to use Celtx.
3. Have a basic knowledge of English language.
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Learning outcomes |
By the end of this course unit, the student should be able to:
1. Correctly format a script
2. Find and test ideas
3. Understand the several phases of the construction of a script.
4. Debate the question of the authorship of a film
5. Reflect upon the contents and form of a cinematic narrative
6. Reflect upon the processes and challenges of cinematic adaptation
7. Do research about characters, places, epochs
8. Create coherent and captivating plots
9. Use the Hero’s Journey structure, according to Joseph Campbell or another structure
10. Build credible characters
11. Build natural dialogues and use voice-over
12. Create spaces and atmospheres
13. Manipulate time
14. Write a script for a fictional short film and its paratexts
15. Develop a critical spirit in the assessment of cinematic texts
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Syllabus |
1. The script
1.1. Functions
1.2. Teamwork
1.3. The problem of authorship
1.4. Literary script vs. technical script
1.4. Formatting and software
2. Finding ideas
2.1. Sources of ideas
2.2. Unlock inspiration
2.3. Testing the potential of an idea
2.4. What makes a good story?
2.5. The cinematic adaptation and its challenges
3. Structure(s)
3.1. Five-point narrative arc
3.2. The Hero’s Journey, by Joseph Cambell
3.3. The Paradigm, by Syd Field
4. Building characters: hero, helper, opponent
4.1. Typology
4.2. Empathy
4.3. Discourse (dialogue and voice-over)
5. Space
5.1. Description
5.2. Create an atmosphere
6. Situate the action in time
6.1. Research for an epoch
6.2. Manipulate time
7. Conflict
7.1. Types of conflict
7.2. Transformation of the protagonist
8. Suspense
8.1. Types
8.2. Techniques
9. Ending
9.1. Types
9.2. Endings to be avoided
10. Paratexts
10.1. Title
10.2. Tag line
10.3. Log line
10.4. Synopsis
10.5. Note of intentions
10.6. Step outline
11. Revision
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Main Bibliography |
Bibliography
Bordwell, David. Narration in the Fiction Film. NY: Routledge, 1985.
Comparato, Doc. Da criação ao guião. Lisboa: Pergaminho, 2003.
Edgar-Hunt, Robert et al. Screenwriting. Lausanne: AVA, 2009.
Field, Syd. The Definitive Guide to Screenwriting. London: Ebury, 2003.
Frensham, Ray. Screenwriting. London: Teach Yourself, 2003.
Mancelos, João de. Manual de guionismo. Lx: Colibri, 2016.
McKee, Robert. Story. NY: Methuen, 1999.
Nogueira, Luís. Laboratório de guionismo. Covilhã: Labcom, 2010.
Films
Campion, Jane. The Piano. CyBi 2000, 1993
Hanson, Curtis. Wonder Boys. BBC, 2000.
Kogonada. Columbus. Depth of Field, 2017.
Leone, Sergio. Once Upon a Time in America. Ladd, 1984.
Mendes, Sam. Revolutionary Road. DreamWorks, 2008.
Nichols, Mike. The Graduate. Embassy, 1967.
Siodmak, Robert. The Killers. Universal, 1946.
Spielberg, Steven. Star Wars: Episode IV. LucasFilm, 1977.
Tarantino, Quentin. Pulp Fiction. Miramax, 1994.
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Teaching Methodologies and Assessment Criteria |
Methods:
1. Explanation of screenwriting techniques.
2. Analysis of meaningful examples.
3. Suggested exercises to drill certain techniques.
4. Constructive comments produced by the colleagues and the professor.
Since this is an MA unit, I will be more demanding towards the work produced by students, I will promote a thorough reflection about the nature, form and content of a cinematic narrative, and I will value research to create plots and characters.
Assessment:
The final mark results from:
a) A script for a short film, including a tag line, a log line, a synopsis and a treatment (50%);
b) Participation and openness to critical feedback (50%).
If they wish, working students may choose to have their assessment solely based upon their script, which would then worth 100%.
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Language |
Portuguese. Tutorial support is available in English.
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