|Mapa da ESE Setúbal|
Scholar Year: 2020/2021 - 1S
||Ciências da Comunicação
||N. of students
|Marta Sofia da Luz Marcos Pinho Alves||Head|
|Type of classes
Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)
At the end of this course, the student should be able to write a literary script for short film professional, original and creative way and:
- Understanding the specifics of audiovisual narrative;
- Understanding the differences between the development of literary guides and technical guides;
- Recognize the main theoretical perspectives that underlie scriptwriting for film and television;
- Understand the activity Screenwriter;
- Know and mobilize multiple concepts and tools inherent to the screenwriter activity;
- Develop reading skills, analysis, critical thinking, synthesis, organization and writing and apply them to the construction of a literary script;
- Propose innovative projects in this area.
1. Brief History of scriptwriting practice for film and television.
2. script building models. The standard of Master Scenes.
3. Construction Phases of the literary script. Writing and rewriting.
5. The topic.
7. The structure of the narrative and the moments of narration.
8. The narrative devices. The space and time. The beginnings and ends.
10. The scene and sequence.
Demonstration of the syllabus coherence with the UC intended learning outcomes
The first three topics of the syllabus are contextualizers of work involved, helping to understand what is the activity Screenwriter and which the various theoretical and practical tools it needs to mobilize for their performance. The following topics refer to several factors to be taken into account in the construction of a literary script, task it is intended that the student is able to achieve at the end of the course.
Each class will consist of two parts.
In the first part, which will last for 120 minutes, will consist of an exhibition section, during which will be a presentation of the main concepts, which will follow the projection of illustrative audiovisual objects excerpts of concepts before approached for comment and analysis collective.
The second part, which will last 60 minutes, it is expected the practical monitoring of various writing stages of the proposed work. In view of the suggestions and comments of teachers and colleagues it is intended that students deliver new writing elements that will be discussed again. Review under review, reach shall be the delivery of the final version of the work.
Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes
The methodology adopted in the first part of the class aims to enable students to test connections between theory and its application in a work in progress and help them to think about their work as screenwriters, allowing them to improve it and adapt it does to criticism and different perspectives.
The teaching methodologies adopted in the second part, they develop the ability to combine theoretical reflection with practical application on concrete examples, allowing contribute to deepening the understanding of the essential concepts studied for the scriptwriter work.
Assessment methodologies and evidences
An individual work of preparing a literary script for a short film of fiction, from an original idea [100%]. This implies that the following partial elements:
a) Note of intent [15%]
b) Synopsis [15%]
c) Characterization of the characters [15%]
d) Syntax & Grammar [5%]
e) Literary script (prepared in accordance with the standard of Master Scenes) [50%]
The works can be received in person delivered by the teacher or sent by e-mail.
For each day of delay in delivery of any of the elements of evaluation a value will be deducted from your final grade.
The work availing plagiarism, full or partial, will be awarded the rank of 0 values.
Participation of regular students
It is expected that each student: (a) is present in 75% of classes and participate in the discussion of the issues under review as well as in group work; (B) read, analyze and be prepared to discuss the presented handouts; (C) run scheduled jobs.
Participation of working students
Each case must be negotiated with the teacher during the first 15 days after the start of classes.
- CAMPBELL, Joseph (2004 ), The hero with a Thousand Faces, Princeton e Oxford, Princeton University Press.
- COMPARATO, Doc (1998 ), Da Criação ao Guião: A Arte de Escrever para Cinema e Televisão, Lisboa: Pergaminho.
- COWGILL, Linda J. (1999), Secrets of Screenplay Structure, Hollywood: iFilm.
- FIELD, Syd (2005 ), Screenplay: The Foundations of Screenwriting, Nova Iorque: Delta.
- HUET, Anne (2005), Le Scénario, Paris: Cahiers du Cinema.
- MCKEE, Robert (1997), Story: Substance, Structure, Style and the Principles of Screenwriting, Nova Iorque: Regan.
- NOGUEIRA, Luís (2010), Laboratório de Guionismo, Covilhã: LabCom.
- PROPP, Vladimir (2003) Morfologia do Conto, Lisboa: Vega.
- REIS, Carlos; LOPES, Ana Cristina (2000), Dicionário de Narratologia, Coimbra: Almedina.
- VOGLER, Christopher (2007 ), The Writer’s Journey: Mythic Structure for Writers, Nova Iorque: Michael Wiese.