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Home , Alan Ball (screenwriter), Gus Van Sant, Michel Gondry, Paul Thomas Anderson

Module Definition Form (MDF)

Module code: MOD003008 Version: 3 Date Amended: 14/Feb/2013

1. Module Title Screenwriting: The

2a. Module Leader 2b. Department 2c. Faculty Judy Forshaw Department of English and Media Faculty of Arts, Law and Social Sciences

3a. Level 3b. Module Type 5 Standard (fine graded)

4a. Credits 4b. Study Hours 15 150

5. Restrictions Type Module Code Module Name Condition Courses to which this module is restricted: BA Film Studies; BA Writing; BA Writing and 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 , Darren Aronsksy, , , , and , 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 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.

Generated on 25/02/2016, 02:29:51 Page 1 of 3 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) : The Shooting Script: USA. . 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, , Pedro Almadovar, , , ,Jean Luc Goddard, Short films shown, , Krzystof Kieslowski, Charlie Kaufman, , , , Francois Truffaut, Gus Van Sant, . 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 Understanding Demonstrate critical understanding of a range of key features and issues of writing for the screen; Illustrate detailed awareness of innovative ways of preparing a feature length 2 Knowledge and Understanding screenplay in terms of narrative structure; characterisation; atmosphere and dialogue; Critically evaluate aesthetic and practical issues of writing for the screen and 3 Knowledge and Understanding gain knowledge of the craft of screenwriting through the study of well known screenwriters. 4 Intellectual, practical, affective and Engage in research to develop original ideas into structured and coherent stories transferrable skills for the screen.

8a. Module Occurrence to which this MDF Refers Year Occurrence Period Location Mode of Delivery 2015/6 ZZF Template For Face To Face Face to Face Learning Delivery

8b. Learning Activities for the above Module Occurrence Learning Activities Hours Learning Outcomes Details of Duration, frequency and other comments Lectures 0 None None Other teacher managed learning 24 1-4 2 hour seminar each week Student managed learning 126 1-4 Self directed learning TOTAL: 150

9. Assessment for the above Module Occurrence Assessment No. Assessment Method Learning Weighting (%) Fine Grade or Pass/Fail Qualifying Mark Outcomes (%) 010 Coursework 1,2,4 75 (%) Fine Grade 30 (%) Details: PORTFOLIO OF WORK 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 Critical Commentary and Evaluation: 1000 words End of semester submission

Generated on 25/02/2016, 02:29:51 Page 2 of 3 In order to pass this module, students are required to achieve an overall mark of 40%. In addition, students are required to: (a) achieve the qualifying mark for each element of fine graded assessment of as specified above (b) pass any pass/fail elements

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