Study Guide

Objectives (course unit)

To develop knowledge and understanding of script development processes and methodologies and to apply these knowledges in practice. To develop the analytical and evaluative skills necessary for a critical appraisal of script texts in relation to their concept; originality; narrative action; character development; genre placement and market viability.
To develop an extensive understanding of the specific nature of the feature film as a creative form of storytelling and to exhibit that understanding in the practice of scriptwriting. At the end of the module students will be able to understand the form of the narrative film text in relationship to idea, content, structure, character, narrative scale, visualisation and European/Trans-Atlantic/global marketability, understand the distinguishing characteristics between feature film form and that of television storytelling, create original feature script ideas within the parameters of the European/Trans-Atlantic film industry, comprehend and execute the script development process within its creative and industrial context. Understand how production processes in the film industry impact upon script assessment, selection and development in order to have the ability to construct commissioning strategies for feature film projects. Have the knowledge of the of the film industry’s working methodologies and it’s economic, legal, funding and distribution. Create original script texts.

Content (course unit)

In the module Storytelling and the Moving Image you will complete one feature length film script and make an exercise for building a concept for tv-series max six episodes. Writing memorable scenes with strong characters, describing essential action and writing dialogue as action of character, making use of subtext and understanding the deep structure of theme and metaphor as well as the use of visual arena and telling details are the key elements in this module.

Prerequisites (course unit)

Following on from module Forms and genres.

Assessment criteria, satisfactory (1-2) (course unit)

Satisfactory
1 = approved; half of the course tasks submitted; some misunderstandings finalizing the tasks; attendance level low; no feedback to peers and teacher
2 = satisfactory; more than half of the course tasks submitted; quality of tasks below average; attendance level low or average; hardly any feedback to peers and teacher(s)

Assessment criteria, good (3-4) (course unit)

Good
3 = good; all course tasks submitted and done in an average way; course attendance and feedback to peers and/or teacher satisfactory
4 = very good; all tasks finalized and submitted correctly in due time; good course attendance and activity; active feedback to peers and teacher

Assessment criteria, excellent (5) (course unit)

Excellent
5 = excellent; all tasks done in an outstanding way and submitted on schedule; high attendance and activity; active and well-thought feedback to peers and teacher

Assessment criteria, pass/fail (course unit)

Not approved
0 = Fail; less than half of the course tasks submitted and/or done incorrectly; no or hardly any attendance; no feedback to peers and teacher(s)

Location and time

December 2023 Independent work Writing the screenplay ACT I, II and III
January 2024 Independent work Writing the screenplay ACT I, II and III
Deadline for the step-outline, Act I and Act II for 12th Jan
16. - 18.1. 3 contact days (first altogether and then in two groups):
Developing the screenplay version
23.1. or 25.1. group 1 contact day Developing the screenplay version
30.1. or 1.2. 1 contact day, Developing the screenplay version
6.2. or 8.2. 1 contact day, Developing the screenplay version
Deadline for Act I, Act II and Act III for 16th of Feb
14.2 Writing the television series on zoom starts once a week on Wednesdays running five times (14.2; 21.2; 28.2; 13.3; 20.3) before Master Class 25-28.3.
20.2 or 22.2 1 contact day, Developing the screenplay version
Week starting 26.2. Independent work Rewriting the screenplay (Screenplay versions 1, 2 etc.)
Week starting 4.3. Tampere Film Festival
12.3. or 14.3. 1 contact day, Developing the screenplay
25. - 28.3. Master Class: 4 contact days. Checking the assignments and developing the concepts, outlines (season and episode outlines).
1.4. - 14.5. Independent work Working on the television series and the Screenplay. THE DEFINITE DEADLINE for screenplay version completed is April 14th
May 2 Days Blended Intensive Program workshop (online)

Assessment scale

0-5

Teaching methods

In the module Storytelling and the Moving Image, you will complete one feature length film script and make an exercise for building a concept for tv-series max six episodes. Writing memorable scenes with strong characters, describing essential action, and writing dialogue as action of character, making use of subtext, and understanding the deep structure of theme and metaphor as well as the use of visual arena and telling details are the key elements in this module. During this term, one day per week will be dedicated to workshops – students will be expected to write their feature scripts full-time for the rest of the week. The scripts will be written to the second-draft stage. There will be a module on TV series concept starting 14. Feb once a week e.g., in Zoom running five times before a Master Class with four contact days on 25. - 28. March. Towards the end of the term, students will decide on their final project, which will be either rewritten version of their feature length screenplay draft completed on April 14th, or a concept for a TV series consisting of the series bible with major storylines and character arcs, 1st season outline, outlines of six episodes, and 2nd drafts of episode 1 & 2 scripts.

Learning materials

Aristotle, Poetics, Penguin Classics, 1996
Linda Aronson, Screenwriting Updated, Silman-James Press, 2001
Pat Cooper and Ken Dancyger, Writing the Short Film, Focal Press 2000.
Linda J Cowgill, Writing Short Films, Falcon Press 1997.
Ken Dancyger and Jeff Rush, Alternative Screenwriting Third Edition, Focal Press, 2002.
Syd Field, The Screenwriter’s Workbook, Dell Trade, 1987.
Robert McKee, Story, Methuen, 1999.
Phil Parker, The Art and Science of Screenwriting, Intellect Books, 2000.
William H Phillips, Writing Short Scripts, Syracuse University Press 1991.
Christopher Vogler, The Writer’s Journey, Michael Wiese Productions, 1998.

Objectives (course unit)

To develop knowledge and understanding of script development processes and methodologies and to apply these knowledges in practice. To develop the analytical and evaluative skills necessary for a critical appraisal of script texts in relation to their concept; originality; narrative action; character development; genre placement and market viability.
To develop an extensive understanding of the specific nature of the feature film as a creative form of storytelling and to exhibit that understanding in the practice of scriptwriting. At the end of the module students will be able to understand the form of the narrative film text in relationship to idea, content, structure, character, narrative scale, visualisation and European/Trans-Atlantic/global marketability, understand the distinguishing characteristics between feature film form and that of television storytelling, create original feature script ideas within the parameters of the European/Trans-Atlantic film industry, comprehend and execute the script development process within its creative and industrial context. Understand how production processes in the film industry impact upon script assessment, selection and development in order to have the ability to construct commissioning strategies for feature film projects. Have the knowledge of the of the film industry’s working methodologies and it’s economic, legal, funding and distribution. Create original script texts.

Content (course unit)

In the module Storytelling and the Moving Image you will complete one feature length film script and make an exercise for building a concept for tv-series max six episodes. Writing memorable scenes with strong characters, describing essential action and writing dialogue as action of character, making use of subtext and understanding the deep structure of theme and metaphor as well as the use of visual arena and telling details are the key elements in this module.

Prerequisites (course unit)

Following on from module Forms and genres.

Assessment criteria, satisfactory (1-2) (course unit)

Satisfactory
1 = approved; half of the course tasks submitted; some misunderstandings finalizing the tasks; attendance level low; no feedback to peers and teacher
2 = satisfactory; more than half of the course tasks submitted; quality of tasks below average; attendance level low or average; hardly any feedback to peers and teacher(s)

Assessment criteria, good (3-4) (course unit)

Good
3 = good; all course tasks submitted and done in an average way; course attendance and feedback to peers and/or teacher satisfactory
4 = very good; all tasks finalized and submitted correctly in due time; good course attendance and activity; active feedback to peers and teacher

Assessment criteria, excellent (5) (course unit)

Excellent
5 = excellent; all tasks done in an outstanding way and submitted on schedule; high attendance and activity; active and well-thought feedback to peers and teacher

Assessment criteria, pass/fail (course unit)

Not approved
0 = Fail; less than half of the course tasks submitted and/or done incorrectly; no or hardly any attendance; no feedback to peers and teacher(s)

Location and time

During Spring term, one day per week will be dedicated to workshops – students will be expected to write their feature scripts full-time for the rest of the week. The scripts will be written to the second-draft stage. There will be a module on TV series concept starting 16. Feb once a week e.g. in Zoom running five times before a Master Class with four contact days on 11. - 14. April. Towards the end of the term, students will decide on their final project, which will be either rewritten version of their feature length screenplay draft completed in April 3rd , or a concept for a TV series consisting of the series bible with major storylines and character arcs, 1st season outline, outlines of six episodes, and 2nd drafts of episode 1 & 2 scripts. Detailed information can be found on Course Outline. The studies will be given online except the Master Classes of Colin Muir and Ilse Somers.

Assessment scale

0-5

Teaching methods

Storytelling and Moving Image (15 cr)
December 2021 – 19th May 2022

In the module Storytelling and the Moving Image, you will complete one feature length film script and make an exercise for building a concept for tv-series max six episodes. Writing memorable scenes with strong characters, describing essential action and writing dialogue as action of character, making use of subtext and understanding the deep structure of theme and metaphor as well as the use of visual arena and telling details are the key elements in this module. During this term, one day per week will be dedicated to workshops – students will be expected to write their feature scripts full-time for the rest of the week. The scripts will be written to the second-draft stage. There will be a module on TV series concept starting 16. Feb once a week e.g. in Zoom running five times before a Master Class with four contact days on 11. - 14. April. Towards the end of the term, students will decide on their final project, which will be either rewritten version of their feature length screenplay draft completed in April 3rd , or a concept for a TV series consisting of the series bible with major storylines and character arcs, 1st season outline, outlines of six episodes, and 2nd drafts of episode 1 & 2 scripts.

Learning materials

Aristotle, Poetics, Penguin Classics, 1996
Linda Aronson, Screenwriting Updated, Silman-James Press, 2001
Pat Cooper and Ken Dancyger, Writing the Short Film, Focal Press 2000.
Linda J Cowgill, Writing Short Films, Falcon Press 1997.
Ken Dancyger and Jeff Rush, Alternative Screenwriting Third Edition, Focal Press, 2002.
Syd Field, The Screenwriter’s Workbook, Dell Trade, 1987.
Robert McKee, Story, Methuen, 1999.
Phil Parker, The Art and Science of Screenwriting, Intellect Books, 2000.
William H Phillips, Writing Short Scripts, Syracuse University Press 1991.
Christopher Vogler, The Writer’s Journey, Michael Wiese Productions, 1998.

Assessment criteria - fail (0) (Not in use, Look at the Assessment criteria above)

Not approved
0 = Fail; less than half of the course tasks submitted and/or done incorrectly; no or hardly any attendance; no feedback to peers and teacher(s)

Assessment criteria - satisfactory (1-2) (Not in use, Look at the Assessment criteria above)

Satisfactory
1 = approved; half of the course tasks submitted; some misunderstandings finalizing the tasks; attendance level low; no feedback to peers and teacher
2 = satisfactory; more than half of the course tasks submitted; quality of tasks below average; attendance level low or average; hardly any feedback to peers and teacher(s)

Assessment criteria - good (3-4) (Not in use, Look at the Assessment criteria above)

Good
3 = good; all course tasks submitted and done in an average way; course attendance and feedback to peers and/or teacher satisfactory
4 = very good; all tasks finalized and submitted correctly in due time; good course attendance and activity; active feedback to peers and teacher

Assessment criteria - excellent (5) (Not in use, Look at the Assessment criteria above)

Excellent
5 = excellent; all tasks done in an outstanding way and submitted on schedule; high attendance and activity; active and well-thought feedback to peers and teacher