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Screenwriting: the Feature Film

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Module Definition Form (MDF) Module Code: MOD003008 Version 3 Date amended 14/2/13 1. Module Title Screenwriting: The Feature Film 2a. Module Leader 2b. Department 2c. Faculty Judy Forshaw Department of English and Faculty of Arts, Law and Media Social Sciences 3a. Level 3b. Module Type 5 Standard Module 4a. Credits 4b. Study Hours 15 150 5. Restrictions Type Module Code Module Name Condition Pre- None requisites: Co- None requisites: Exclusions: None Courses to which this BA Film Studies; BA Writing; BA Writing and module is restricted Film Studies BA Film and Television Production LEARNING, TEACHING AND ASSESSMENT INFORMATION 6a. Module Description The module builds on the skills acquired by the students in Introduction to Screenwriting at Level 5. Having understood the short film format, students now have the opportunity to apply their skills to the more demanding task of understanding the Feature Film. Students will produce a portfolio including the first act of a screenplay with evidence of analytical story structure skills, some of which will include a focussed analysis of genre in a series of student managed presentations. A key element of the module is the study of the work of well known screenwriters, in particular Kaufman, Schrader, Mamet and Ball, whose work will be critically discussed as potential models. Established film-makers, including the Coen Brothers, Darren Aronsksy, Quentin Tarantino, Martin Scorsese, Charlie Kaufman, Paul Thomas Anderson and Gus Van Sant, will also be studied as examples of writer directors. Through small group work and discussion with the seminar leader, students develop an original screenplay idea. The module will cover basic narrative conventions, including the role of conflict, the line of action and plot reversals, character building, and atmosphere. Students will be encouraged to experiment with the representation of place, space and time, and build in subplots when appropriate. Students will be expected to consider their target audience, and will be given the opportunity to explore the role of genre as a means of making narrative choices. For assessment students submit their portfolio of work, after a crit session, along with a critical MDF generated on Wednesday 11 November 2015, 05:50:15.99 Page 1 of 4 6a. Module Description (Continued) commentary and evaluation which includes reflections on the topic, style and approach chosen, how this might relate to the films viewed and discussed, the method of working, and any problems encountered and solutions found. Presentation is an essential aspect of screenwriting and students should are recommended to use a variety of screenwriting software where possible 6b. Outline Content Critical study of story structure. Critical study of genre Critical study of films and screenplays by established and new directors; -Critical study of the work of major screenwriters: -Discussion of elements such as: building character relationships; developing themes and subplots; experimenting with narrative structure (representation of space, place and time); -Generation of original ideas, development of research plans, and pitching to peer groups; Research, newspaper archives etc. -Creation of the first act of a screenplay; -Consideration of good practice for presentation of a screenplay; -Consideration of target audience; -Writing a critical commentary and evaluation. 6c. Key Texts/Literature Key text: Wilson, David Story Design. Storyteller's Handbook for Writers and Dream Merchants. London. SEAM Altman, Robert, and Barhydt, Frank (1994) Short Cuts Screenplay. USA, Capra Press. Anderson, Paul,T. (2001) Magnolia: The Shooting Script: USA. Newmarket Press. Ball, Alan (2000) American Beauty. London. Channel Four Books. Bergman, Ingmar (1989) Four Screenplays New York. Touchstone Books Booker, Christopher (2005) Seven Basic Plots. Why we tell stories. USA Continuum International Publishing Conroy-Scott, ed, (2005) Screenwriters' Talking. London. Faber and Faber. Danycyger, Ken and Cooper, Patricia (2007) Alternative Scriptwriting. Oxford. Focal Press Dancyger, Ken and Cooper, Patricia Writing the Short Film Oxford: Focal Press Field, S (1982) Screenwriter's Workbook New York: Dell Books Gondry, Michel and Kaufman, Charlie (2004) Eternal Sunshine of the Spotless Mind. UK. Nick Hearn Books. Kaufman, Charlie and Jonze, Spike (2003) Adaptation. Shooting Scripts. UK Nick Hearn Books Kieslowski, Krystof (1991) Decalogue: The Ten Commandments. London. Faber &Faber. Mamet,David (1987) Writing in Restaurants . London. Penguin Mamet, David (2007) Three uses of the Knife. Writing Drama. London. Methuen Drama Mamet, David and Kubrick, Stanley (1992) On Directing Film. London. Faber & Faber. McGrath, Declan and Felim, McDermot (2003) Screenwriting. London: RotoVision. McKee, Robert (1998) Story: Substance, Structure, Style and the Principles of Screenwriting London: Methuen Parker, Phil (1999) The Art and Science of Screenwriting Exeter: Intellect Press Schrader, Paul (2002) Collected Screenplays. London. Faber & Faber Vogler, Christopher (2007) The Writer's Journey USA. Michael Wiese Production. Scripts from The Screenwriters' Store. Film shown in seminars include, for example, works by Paul Thomas Anderson, Woody Allen, Pedro Almadovar, Robert Altman, Alan Ball, Ingmar Bergman,Jean Luc Goddard, Michel Gondry Short films shown, Spike Jonze, Krzystof Kieslowski, Charlie Kaufman, David Lynch, David Mamet, Paul Schrader, Francois Truffaut, Gus Van Sant, Lars Von Trier. MDF generated on Wednesday 11 November 2015, 05:50:15.99 Page 2 of 4 6c. Key Texts/Literature (Continued) Last Updated: 03/08/2009 6d. Specialist Learning Resources Seminar rooms with tables and VCR/DVD screening facilities. 7. Learning Outcomes (threshold standards) No. Type On successful completion of this module the student will be expected to be able to: 1 Knowledge and Demonstrate critical understanding of a range of key features and understanding issues of writing for the screen; 2 Knowledge and Illustrate detailed awareness of innovative ways of preparing a understanding feature length screenplay in terms of narrative structure; characterisation; atmosphere and dialogue; 3 Knowledge and Critically evaluate aesthetic and practical issues of writing for the understanding screen and gain knowledge of the craft of screenwriting through the study of well known screenwriters. 4 Intellectual, practical, Engage in research to develop original ideas into structured and affective and coherent stories for the screen. transferable skills 8a. Module Occurrence to which this MDF Refers Year Occurrence Period Location Mode of Delivery 2016/7 ZZF Template For Face to Face Face To Face Learning Delivery 8b. Learning Activities for the above Module Occurrence Learning Hours Learning Details of Duration, frequency and other comments Activities Outcomes Lectures 0 None None Other teacher managed 24 1-4 2 hour seminar each week learning Student managed 126 1-4 Self directed learning learning TOTAL 150 9. Assessment for the above Module Occurrence Assessment Assessment Learning Weighting (%) Fine Grade or Qualifying Mark No. Method Outcomes Pass/Fail (%) 010 Coursework 1,2,4 75 Fine Grade 30 Details: Portfolio of work to include, a one page pitch/synopsis, the first act of a screenplay plus supporting material. End of semester submission. 011 Coursework 1,3 25 Fine Grade 30 Details: Critical Commentary and Evaluation: 1000 words End of semester submission In order to pass this module, students are required to achieve an overall mark of 40%. MDF generated on Wednesday 11 November 2015, 05:50:15.99 Page 3 of 4 In addition, students are required to: (a) achieve the qualifying mark for each element of fine grade assessment as specified above (b) pass any pass/fail elements. MDF generated on Wednesday 11 November 2015, 05:50:15.99 Page 4 of 4.
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