| Course Name | Scriptwriting |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 303 | Spring | 2 | 2 | 3 | 5 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | Online | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce students to the fundamentals script writing |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | The course is an introduction to the craft of screen writing. Students will be required to creatively read, write, revise and develop scripts. There will be 3 quizzes, 5 assignments and 1 project. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Story: Layered Structure: Action&Emotion&Theme Elements of Script: The Syntax | FIELD: p (160-183) |
| 2 | Idea of a scene: Theme and Sub-themes Prologue Scenes&Quiet Scenes Elements of Script: Action | MILLER: Theme MCKEE: Scene Design. Selected Scenes |
| 3 | Character: Emotion Character Introduction Scenes | MILLER: The Characters Selected Scenes |
| 4 | Introduction to Dialogue. Tone, Power, Jargon Introduction to Scriptwriting Software. | MILLER: Voice&Dialogue Selected Software |
| 5 | Plotting the Scene: Key Concepts: Setup, Conflict, Payoff, Hook Tools: Empathy, Emotion, Expectation | ALDERSON&ROSENFIELD: Chapter 1: “Plot Overview” GULINO: Chapter 1 |
| 6 | First Act Scenes: “THE” Promise Inciting the Story | HUNTER: p. (119-138) Selected Scenes |
| 7 | Confrontation Scenes Pacing Conflict | ALDERSON&ROSENFIELD: Chapter 2: “Scene Overview” |
| 8 | Conflict Theory of the “Scene&Sequence” | FIELD: p (183-199) |
| 9 | Second Act: Plot Point Scenes | HUNTER: p. (161-179) Selected Scenes |
| 10 | Introduction to Archplot&Story Arcs | Selected Fiction Piece |
| 11 | Third Act: Plot Point Scenes Climax | HUNTER: p. (265-270&311-313) Selected Scenes |
| 12 | Full Film Analysis | Selected Fiction Piece |
| 13 | Kill Your Darlings: Revisions&Rewriting | Pre-class meditation |
| 14 | Business of Screenwriting | |
| 15 | Review of the semester | Submission of the projects: A completed short film script. |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | HUNTER, L. Lew Hunter’s Screenwriting 434: The Industries Top Teacher Reveals the secrets of the Successful Screenplay. MILLER, William C. Screenwriting for Film and Television. MCKEE, R. Story: Style, Structure, Substance, and the Principles of Screenwriting. EGRI, L. Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. FIELD, S. Screenplay: The Foundations of Screenwriting: A Step-by-Step Guide from Concept to finished Script. GULINO P. Joseph&SHEARS Connie: The Science of Screenwriting. ALDERSON&ROSENFIELD 2015: Writing Deep Scenes |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | 3 | 15 |
| Portfolio | ||
| Homework / Assignments | 5 | 40 |
| Presentation / Jury | ||
| Project | 1 | 35 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 9 | 100 |
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 4 | 64 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 14 | 3 | 42 |
| Field Work | |||
| Quizzes / Studio Critiques | 3 | 2 | |
| Portfolio | |||
| Homework / Assignments | 5 | 4 | |
| Presentation / Jury | |||
| Project | 1 | 18 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 150 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | |||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | |||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | X | ||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
