Please Note: Draft syllabi are provided to assist students in the course registration process. Final syllabi will be provided by instructors.
Wesleyan University Graduate Liberal Studies
ARTS616 Screenwriting: The Art of Visual Storytelling Summer 2017
Instructor: Julian Cornell Email: [email protected] Course Meetings: Tuesdays and Thursdays, 1pm-4pm June 26-August 1 No Class July 4
Course Description: The foundation of any film, whether special effects dominated blockbuster or intimate character study, is the screenplay. Before production begins on any movie, there must be a screenplay, which requires the writer to be cognizant of the unique attributes and demands of cinematic narrative in addition to the craft of storytelling. This course will introduce students to the art and fundamentals of screenwriting including the construction of narrative, development of characters, writing of dialogue, creation of backstory, problems of structure, expectations of genre and mechanics of screenplay formatting. Students will develop the ability to analyze and critically assess cinematic structure in feature films, as well as process of developing stories for the screen. The course will provide students the skills to write a short screenplay or first thirty pages of feature length script.
Course Objectives: 1. Students will gain a greater understanding of the role of the screenwriter and the script in the making of feature films. 2. Students will explore the unique aspects of cinematic writing. 3. Students will acquire an in-depth knowledge of the process of creating and composing a ‘filmic’ story. 4. Students will learn the typical progression of a screenplay, from story to draft to finished product. 5. Students will learn how to evaluate and critique the scripted elements of films. 6. Students will complete a draft of short film screenplay, or the first act of a feature length script.
Course Policies: Students are expected to come to class prepared, having completed the writing assignments, readings and ready to participate actively. As the majority of the course meetings will be comprised of reading, critiquing and performing scripts and creative writing, it is essential that students attend each meeting and provide feedback and input for their colleagues. Participation in discussions is an integral part of the course, as is the ability to assist one another in their individual creative process. Even if you attend every class meeting, if you do not contribute, you cannot receive a class participation grade higher than B.
Thus, the policy regarding attendance is both clear and strict. More than three absences will likely jeopardize your ability to pass the class. If you miss three classes, the highest participation grade you can receive is a C. Students who miss more than five classes will be asked to withdraw from the course or will receive a class participation grade of F. Please be on time! Habitual lateness will impact your class participation grade, as each three instances of lateness to section will be counted as an absence.
Screenings are an integral component of the course and students are required to watch the titles on the syllabus before class meets, even if they have seen them in the past. The instructor reserves the right to change the screenings without prior notice. Students are expected to have access to Netflix, Hulu Plus, Amazon Instant Video or another streaming service. Due to time constraints it is impossible to screen entire films during class meetings. When directed by the instructor, students are required to complete viewing of films on their own, and to finish them in a timely fashion.
Written assignments must be completed as scheduled. Late work will not be accepted, except in cases of documented medical or family emergency. Make-up assignments will only be accepted at the discretion of the instructor. Students are required to notify the instructor if circumstances will not permit the timely completion of course work. A heavy course load or work for other classes is insufficient reason for missing class or submitting work late. Please be advised that the instructor strongly discourages Incompletes and they are granted only in the most extreme instances.
Eating and cell phone use are not permitted in this class. Infractions will result in a significantly lowered class participation.
Reading Assignments: The reading load for this course is quite heavy, though the number of reading assignments will vary from session to session. Even though lectures may not draw on the reading directly, it is imperative that you complete the readings in a timely manner. The variety and range of readings are deliberately designed to enhance your understanding of the screenwriting process and the topic of each class session. Readings due for a given session are to be done before the class meets.
Required Texts: Gilford, Joe Why Does The Screenwriter Cross the Road? And Other Screenwriting Secrets New York: Weise Publications, 2015 Kaufman, Charlie Eternal Sunshine of the Spotless Mind: The Shooting Script New York: Newmarket Books, 2005 McKee, Robert Story: Substance, Structure Style and The Principles of Screenwriting New York: Harper Collins, 1997. Towne, Robert Chinatwon and The Last Detail: Two Screenplays New York: Grove Press, 1997
Recommended Texts: Cowgill, Linda Writing Short Films, 2nd Edition New York: Crown Publishing, 2005 Field, Syd Screenplay: The Foundations of Screenwriting: Revised Edition
New York: Delta Publications, 2005
Recommended Software: Though conventional word processing software programs are acceptable for producing screenplays, it is strongly suggested that students purchase Final Draft 10: Educational Version. Discounted Electronic versions of the software package are available for matriculated students through many educational software providers.
Written Requirements: The goal of the course is for students to complete a short screenplay (25-30 pages) or begin the process of writing a fiction film feature length script (120 pages). The written assignments, whether creative or analytical, are designed to facilitate this process.
The writing assignments will include the following: 1. One paragraph written “pitch” of your screenplay. 2. One-page synopsis for your screenplay. 3. Three page backstory for your main characters. 4. Five page treatment of your screenplay. 5. Screenplay formatting exercise. 6. Four – Five page critical analysis of assigned screenplays (coverage). 7. Four – Five page analytic essay on an assigned film, a critique of the scripted elements of a feature film. 8. A scene study from your proposed screenplay. 9. A completed screenplay.
Grading Policies: 15% Attendance, Participation. 10% Script Coverage Exercise. 10% Analytic Essay. 30% Screenplay Development Exercises. 35% Completed Script.
All written work must be uploaded to the course Moodle site by the time the course meets on the date they are due. Students must also submit their writing in person.
Plagiarism: There are few academic matters more serious than plagiarism. Any written work for a college course must be wholly original, or it needs to be cited. If you take any idea from an outside source, whether it is a website, book or any media form, you must indicate where you obtained that information. Copying anything off of the Internet without noting the source is considered plagiarism! If you are unclear on what constitutes plagiarism, please consult the instructor before
submitting your work. Do not assume something is common knowledge unless it would be blatantly obvious to anyone with even a passing knowledge of the subject. For instance, that J.K. Rowling created Harry Potter is widely known by people even if they have never seen the films or read the books; in contrast, an interpretation of the films, or their production background, is not common knowledge. Copying materials from website and books without noting where it can be found and verified by another individual is considered plagiarism; it is not research!
Course Schedule: Session One: Introduction: The Screenwriter’s Art Screening(Excerpts): Casablanca (M. Curtiz, 1943) 101 min.
Session Two: Here’s the Pitch: Finding Inspiration Screening (Excerpts): On the Waterfront (E. Kazan, 1954) Reading: 1. Robert McKee Story: Substance, Structure, Style and the Principles of Screenwriting, Part 1.
Written Assignment Due: Screenplay Formatting Exercise.
Session Three Where Do Ideas Come From? Writing What You (Don’t) Know Screening (Excerpts): Butch Cassidy and the Sundance Kid (G. R. Hill, 1969) Readings: 1. McKee Story, Chapters 2 & 3. Written Assignment Due: One Paragraph Screenplay Pitch.
Session Four It’s About This Person, Right…?: Characters and Characterization. Screening (Excerpts): Fargo (J. & E. Coen, 1996) Readings: 1. McKee Story, Chapters 4 & 5.
Written Assignments Due: One Page Screenplay Synopsis. First Five Pages of your Screenplay.
Session Five:
Creativity and Expectation: Genre, Story and Audiences Screening (Excerpts): Annie Hall (W. Allen, 1977) When Harry Met Sally (N. Ephron, 1989) Readings: 1. McKee Story, Chapters 6, 7 & 8.
Written Assignment Due: Main Character(s) Backstory.
Session Six: From Script To Screen: (Not) Directing With Words Screening (Excerpts): Chinatown (R. Polanski, 1974). Readings: 1. McKee Story, Chapters 9 & 10. 2. Robert Towne Chinatown.
Written Assignments Due: Five-Page Treatment. Next Five Pages of your Screenplay. Session Seven: Narrative Economy and Story Structure Screening (Excerpts): Eternal Sunshine of the Spotless Mind (M. Gondry, 2005). Rashomon (A. Kurosawa, S. Hashimoto, 1950) Blind Chance (Krzysztof Kieslowski, 1981) Readings: 1. McKee Story, Chapters 11, 12 & 13. Written Assignments Due: Script Coverage for Chinatown. Session Eight: All Talk: Dialogue Is Action Screening (Excerpts): Who’s Afraid of Virginia Wolf? (E. Lehman, 1966) Glen Garry Glen Ross (J. Foley, 1991) Readings: 1. McKee Story, Chapters 14 & 15 2. Charlie Kaufman Eternal Sunshine of the Spotless Mind. Written Assignments Due: Analytic Critique of Eternal Sunshine of the Spotless Mind. Next Five Pages of your Screenplay. Session Nine: World Building: Scene, Story and Production Design. Screening (Excerpts): Blade Runner (R. Scott, 1982) Readings: 1. McKee Story, Chapters 16 & 17.
Written Assignment Due: Scene Study from your Screenplay. Session Ten: Meaning, Creativity and Making a Statement. Screening (Excerpts): Thelma & Louise (C. Kouri, 1991) Readings: 1. McKee Story, Chapters 18 & 19. Written Assignment Due: Completed Screenplay.