Unit convenor and teaching staff |
Unit convenor and teaching staff
Lecturer
Dr Greg Levine
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Credit points |
Credit points
3
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Prerequisites |
Prerequisites
12cp
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Corequisites |
Corequisites
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Co-badged status |
Co-badged status
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Unit description |
Unit description
This unit introduces students to writing for screen media; from film and television to portable devices. It explores techniques for developing ideas and writing scripts for fiction, non-fiction, animation and hybrid forms. This unit combines creative writing projects with critical analysis. It is relevant to those interested in screen media, writing and creative process.
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Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates
On successful completion of this unit, you will be able to:
Name | Weighting | Due |
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Script Field-Notes | 25% | Week 5 |
Storyboard OR Treatment | 25% | Week 8 |
First Draft Script for Screen | 40% | Week 12 |
Participation | 10% | ongoing |
Due: Week 5
Weighting: 25%
This task involves leaving your computer behind and taking a field trip. The aim is to observe/record details from the world. This material will feed into the short screenplay you will be working on this semester.
A. Write a one-paragraph synopsis of your script idea. Your script idea should be for a movie suitable for broadcast via the web, mobile devices or screening. It should be able to be shot in Australia.
B. Assemble Field-Notes for your script idea.
Your Field-notes should address the following:
1. Character. Record a brief interview with a person who has some similarities with your script’s central character. What did you learn that was surprising about this person? What were your observations of the subject’s dress, body language and speech rhythms? How could you draw on this in developing your central character?
2. Place. Visit a place that could function as a key location in your script. Take some photographs. Observe the time of day. Note the light, colours, forms, location sounds. Consider how you might use these observations in your script.
3. Key Imagery. Assemble 8 key images (photographs, magazine images, postcards, found pictures, frames from other movies etc.) that could inspire scenes, imagery or dramatic action.
4. Key text. A quote that is relevant to your idea. (Please provide details of the writer and where it was published.)
Assemble your notes into a document/folder for assessment.
Prepare a 5 minute version to present to your tutorial group. Your tutor will allocate you a time to present.
Due: Week 8
Weighting: 25%
You should prepare the storyboard or treatment using Celtx or Microsoft Word.
Storyboard Parameters:
A storyboard should present a short sequence featuring the visual images, sound effects and voiceover or screen text from your 7-10 minute film project.
1. The sequence can use text on screen, voiceover, music and sound. But not dialogue.
2. You must include a minimum of 10 sequential shots. Use more if necessary.
3. The storyboard should be prepared as using Celtx software but please submit a printed hard copy.
4. The storyboard should be accompanied by a 2 paragraph outline of your 7-10 minute script idea.
Treatment Parameters
A treatment is a chronological (in screen time) unfolding of the story, generally without dialogue, paying particular regard to style, dynamics, mood, genre, colour, character, sound and action. It is what is happening on the screen in words.
If preparing a treatment only, the submitted treatment should include:
1. 5-20 line biograohies of the central characters
2. 3-5 page complete draft story treatment
3. Detailed scene breakdowns of the first five scenes of the short film.
Due: Week 12
Weighting: 40%
Write a First Draft screenplay of 7-10 minutes (roughly 7-10 pages).
You should aim to draw on the research you have undertaken - and the feedback you have received - throughout the semester.
Script Parameters
1. Use dialogue sparingly.
2. Please refer to the Australian film industry’s standard drama format for guidance.
Alternative presentations such as photo/text collage, complete animation storyboard, graphic novel style, or transmedia, game or multi-platform format scripts – are encouraged. Please discuss this option with your tutor or the lecturer well in advance of the due date.
Please note that information on formatting is available in the course reader and at the unit’s iLearn page. It will be discussed in tutorials ahead of the assignment.
Due: ongoing
Weighting: 10%
Students are required to attend and actively participate in all tutorials. Participation is more than attendance. It requires being punctual and prepared. Tutorials will be devoted to exercises aimed at generating ideas and stories and discussion of creative work-in-progress.
Unit Requirements and Expectations
Students attend a one-hour lecture weekly. Students attend and participate in a two-hour weekly tutorial workshop from Week 2. Students are expected to read and view materials posted by the Lecturer at the iLearn page for this course. To pass this course, students are expected to attend lectures, participate in tutorial exercises and discussion, submit all assignments and receive a Pass grade overall.
Without adequate documentation (eg. doctor's certificate), missing more than three tutorials will adversely affect your participation grade.
There is no examination for this unit.
E Readings
MAS 202 e-readings for this course will be available on the ilearn site prior to the weeks teaching. Additional hard copy recommended and required readings will be placed on 7 day loan in Reserve. The e readings contain information necessary to completing assignments for this course. Additional readings will be distributed in tutorials throughout the semester.
Required Readings: (posted on ilearn)
Speigel Ed, Innocence of the eye: a film makers Guide 2003 p 114-125
Dancyer, Ken, Global scriptwriting 2001 p 3-13.
Wells Paul, 2007. Initial Ideas and starting points, in Scriptwriting Basics, Animatn Lausanne: Ava pp 40-57.
Jonathon Dawson, Screenwriting: A manual p 184-189
Wim Wenders. "A sense of Place" (2006)
Inga Karetnova, “The Beginning of Screenwriting” in How Scripts are Made 1990, p 1-5
Henrik Galeen, Nosferatu Script extract: www.geocities.com/emruf1/nosferatur.html
Chris Marker- script for La Jetee www.godamongdirectors.com/scripts/lajetee.shtml
M Ali Issari and Doris A Paul, What is Cinema Verite? Scarecrow Spress, 1979.
Arndt Michael (2003) Little Miss Sunshine (excerpt) pp1-5
Schrader Paul, (1990) [1976] Taxi Driver (excerpt) London: Faber and Faber pp 1-10
Brackett, C and Wilder, B, (1999) [1949] Sunset Boulevard, (excerpt), Berkely, Uni of California Press, pp 5-24.
Syd Field: What is a Screenplay? Dell Publishing, NY 1976 pp
Linda Seger. Making a Good Script Great, Dodd, Mead and Co, N.Y 1987 pp
Elliot Grove “Screen Writing in Raindance Writers Lab: write and sell the hot screenplay” p 63-75
Eileen Elsey and Andrew Kelly, A guide to short film-making in the digital age. 2002.
Cate Shortland Script for “Flowergirl”
and "Wilfred" and
Elliot, A, “Harvie Krumpet”, in Emma Crimmings and Rhys Graham Ed. “Short site: Recent Australian Short film” 2004.
Faithful D and Hannant B, Adaptations, a guide to adapting literature to film, Currency 2007.
Millard K, “Everything Old is New Again”, AWG Storyline Issue 14, Autumn 2006.
Marjane Satrapi. Persepolis, Johnathon Cape, London, 2006
Schlink Bernard, The Reader, Pheonix, London, 2008. pp 76-79
Hare, David, The Reader. The Weinstein Company,
Birmingham, John, New players enter the art world, Sydney Morning Herald April 2010.
Laybourne, Kit, The Animation Book, Three Rivers Press 1998.
Patmore, Chris, The Complete Animation Course, Thames and Hudson, London, 2003
Duncan S. 2008. Genre Screenwriting Continuum: New York, London.
Mernit, B, Writing The Romantic Comedy, Harper Resource 2000.
Haddrick, Greg. Top Shelf 1. Reading and Writing the Best in Aust TV Drama, ,Currency/AFTRS 2001.
AFTRS: Standard script layouts
Australian Film Commission “Suggested Script Layout”
Recommended/ Suggested readings (Publications) :
Aronsen, L. 2010. The 21st-Century Screenplay, Allen and Unwin: Sydney
Dancyer, K. 2001 Global scriptwriting
Dancyer, K. 2006. Alternative Scriptwriting
Duncan S. 2008. Genre Screenwriting Continuum: New York, London.
Field, S. 1994.Screenplay: The Foundations of Screenwriting. Dell Publishing: NY
Faithful D and Hannant B, Adaptations, a guide to adapting literature to film, Currency 2007.
Laybourne, Kit, The Animation Book, Three Rivers Press 1998.
Patmore, Chris, The Complete Animation Course, Thames and Hudson, London, 2003
McKee, Robert. 1998. Story: Substance, Structure, Style and the Principles of Screenwriting. Methuen: London.
Technologies/resources required.
The students will be required to use their own computers for development of treatments, storyboards and scripts. Students are recommended to become familiar with Celltx (free script software) Twine (interactive writing software). They may also use Microsoft Word or Final Draft (professional script writing software) for scriptwriting process. The 'Field notes' assesment will require a written or recorded interview as well as some visual design with students own software.
Week 1: Introduction to MAS 202. Starting the creative process.
Required Readings: Speigel Ed, Innocence of the eye: a film makers Guide 2003 p 114-125
Dancyer, Ken, Global scriptwriting 2001 p 3-13.
Wells Paul, 2007. Initial Ideas and starting points, in Scriptwriting Basics, Animatn Lausanne: Ava pp 40-57.
Jonathon Dawson, Screenwriting: A manual p 184-189
Week 2: Developing your ideas from Place:Wim Wenders and Ivan Sen
Screening: Wings of Desire, Paris Texas, Mystery Road.
Reading: Wim Wenders. "A sense of Place" (2006)
Workshop Skills: Journey exercise
Week 3: The Cinematic Image: German Expressionist Cinema, French and Italian New Wave.
Screening: Battleship Potempkin and Nosferatu, La Jetee and La Dolce Vita.
Workshop skills: descriptive writing (the snapshot exercise)
Required and recommended readings: Inga Karetnova, “The Beginning of Screenwriting” in How Scripts are Made 1990, p 1-5
Henrik Galeen, Nosferatu Script extract: www.geocities.com/emruf1/nosferatur.html
Chris Marker- script for La Jetee www.godamongdirectors.com/scripts/lajetee.shtml
M Ali Issari and Doris A Paul, What is Cinema Verite? Scarecrow Spress, 1979.
Week 4: Classical Hollywood story structure.
Screening: Little Miss Sunshine, Sunset Boulevard, Taxi Driver,
Readings: Arndt Michael (2003) Little Miss Sunshine (excerpt) pp1-5
Schrader Paul, (1990) [1976] Taxi Driver (excerpt) London: Faber and Faber pp 1-10
Brackett, C and Wilder, B, (1999) [1949] Sunset Boulevard, (excerpt), Berkely, Uni of California Press, pp 5-24.
Syd Field: What is a Screenplay? Dell Publishing, NY 1976
Linda Seger. Making a Good Script Great, Dodd, Mead and Co, N.Y 1987
Elliot Grove “Screen Writing in Raindance Writers Lab: write and sell the hot screenplay” p 63-75
Workshop: storybeats
Week 5: Shorts under the microscope (guest lecture: Alex M)
Readings: Eileen Elsey and Andrew Kelly, A guide to short film-making in the digital age. 2002.
Cate Shortland Script for “Flowergirl”
and "Wilfred" and
Elliot, A, “Harvie Krumpet”, in Emma Crimmings and Rhys Graham Ed. “Short site: Recent Australian Short film” 2004.
Screenings: TBA
Workshop skills: Story from Poem.
Week 6: Adaptations. Narratives and Graphic Novels: Bernard Schlink Novel to David Hare Script. Watchmen comics to screen.
Screenings: The Reader, Persepolis, Watchmen.
Readings: Faithful D and Hannant B, Adaptations, a guide to adapting literature to film, Currency 2007.
Millard K, “Everything Old is New Again”, AWG Storyline Issue 14, Autumn 2006.
Marjane Satrapi. Persepolis, Johnathon Cape, London, 2006
Schlink Bernard, The Reader, Pheonix, London, 2008.
Hare, David, The Reader. The Weinstein Company,
Week 7 and 8: Games and Portable devices. Animation, Transmedia and Multi-platform storytelling
Screenings: Multiplatform productions TBA.
Readings: Birmingham, John, New players enter the art world, Sydney Morning Herald April 2010.
Laybourne, Kit, The Animation Book, Three Rivers Press 1998.
Patmore, Chris, The Complete Animation Course, Thames and Hudson, London, 2003
Workshop: writing with TWINE software.
Week 9: Working With Genre 1: Thriller and Horror.
Screening: Michael Clayton, 28 Days Later.
Readings: Duncan S. 2008. Genre Screenwriting Continuum: New York, London.
Week 10: Working with Genre 2: Comedy and Rom Com
Readings: Mernit, B, Writing The Romantic Comedy, Harper Resource 2000.
recommended: The Comic Writers Toolbox
Screening: Notting Hill.
Workshop: Seven Plot Points for Rom Com
Week 11: Writing for TV (Adult and Kids) Guest Lecture Andy Muir.
Readings: Haddrick, Greg. Top Shelf 1. Reading and Writing the Best in Aust TV Drama, ,Currency/AFTRS 2001.
Week 12: Where to from here? Industry questions and Formats and Formatting.
Readngs: AFTRS: Standard script layouts
Australian Film Commission “Suggested Script Layout”
Laybourne, Kit, The Animation Book, Three Rivers Press 1998.
Patmore, Chris, The Complete Animation Course, Thames and Hudson, London, 2003
Week 13: Individual script consultation replaces lecture and tutorials this week
Recommended Texts throughout the course include:
Aronsen, L. 2010. The 21st-Century Screenplay, Allen and Unwin: Sydney
Aronsen L. 2000. Scriptwriting Updated, Allen and Unwin: AFTRS.
Duncan S. 2008. Genre Screenwriting Continuum: New York, London. The Comic Writers ToolboxLaybourne, Kit, The Animation Book, Three Rivers Press 1998.
Patmore, Chris, The Complete Animation Course, Thames and Hudson, London, 2003
Mernit, B, Writing The Romantic Comedy, Harper Resource 2000.
Eileen Elsey and Andrew Kelly, A guide to short film-making in the digital age. 2002.
Syd Field: What is a Screenplay? Dell Publishing, NY 1976
Linda Seger. Making a Good Script Great, Dodd, Mead and Co, N.Y 1987
McKee, Robert. 1998. Story: Substance, Structure, Style and the Principles of Screenwriting. Methuen: London.
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Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html
Assessment Policy http://mq.edu.au/policy/docs/assessment/policy.html
Grading Policy http://mq.edu.au/policy/docs/grading/policy.html
Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html
Grievance Management Policy http://mq.edu.au/policy/docs/grievance_management/policy.html
Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The Disruption to Studies Policy is effective from March 3 2014 and replaces the Special Consideration Policy.
In addition, a number of other policies can be found in the Learning and Teaching Category of Policy Central.
Macquarie University students have a responsibility to be familiar with the Student Code of Conduct: https://students.mq.edu.au/support/student_conduct/
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Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study strategies to improve your marks and take control of your study.
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