The aim of this course is to provide students with tools for both theoretical analysis and practical realization of film scripts, with a particular consideration of different genres and formats, and references to mainstream as well as low budget productions. The course will take into account the main methodologies of scriptwriting; it will address the main stages of the screenwriting process, from the early concept to the script and the final treatment; it will consider the historical evolution of cinematic narrative forms; and it will offer insights into the relationship between cinematic narration and contemporary crossmedia storytelling.
teacher profile teaching materials
a) a theoretical one, with the 2 dramaturgical and cinematographic models of the course:
- THE STRUCTURE IN THREE ACTS (which sinks into Freudian psychology)
- THE HERO'S JOURNEY BY C. VOGLER (which sinks into Jungian psychology)
b) a practical one, as we pass from the IDEATION, from the CUE that ignited the initial IDEA, to the SUBJECT (which is THE STRUCTURED IDEA, THE PUTTING IN HISTORY OF THE CUE), to the LINEUP (the articulation of the main movements of the dramaturgy, the definition of the main NARRATIVE BLOCKS), to THE TREATMENT (the full-text EXPLORATION of the narrative universe, closer to the novel: where do the scenes happen? What does the protagonist think? It investigates in depth; the characters objectify themselves other than us: they are alive and autonomous. We understand the MENTAL HORIZON OF THE CHARACTERS), to the SCREENPLAY (all scenes, scene by scene: what happens there, the characters, its meaning. It is the "PLACE" where we work properly on the definition of the film. Dialogues, images, rhythm, psychology of the characters, narrative arcs here find their fulfillment before shooting).
Recommended text: "Consigli a un giovane scrittore", Vincenzo cerami, Garzanti, Milano 2002.
Programme
The laboratory will be divided into two floors;a) a theoretical one, with the 2 dramaturgical and cinematographic models of the course:
- THE STRUCTURE IN THREE ACTS (which sinks into Freudian psychology)
- THE HERO'S JOURNEY BY C. VOGLER (which sinks into Jungian psychology)
b) a practical one, as we pass from the IDEATION, from the CUE that ignited the initial IDEA, to the SUBJECT (which is THE STRUCTURED IDEA, THE PUTTING IN HISTORY OF THE CUE), to the LINEUP (the articulation of the main movements of the dramaturgy, the definition of the main NARRATIVE BLOCKS), to THE TREATMENT (the full-text EXPLORATION of the narrative universe, closer to the novel: where do the scenes happen? What does the protagonist think? It investigates in depth; the characters objectify themselves other than us: they are alive and autonomous. We understand the MENTAL HORIZON OF THE CHARACTERS), to the SCREENPLAY (all scenes, scene by scene: what happens there, the characters, its meaning. It is the "PLACE" where we work properly on the definition of the film. Dialogues, images, rhythm, psychology of the characters, narrative arcs here find their fulfillment before shooting).
Core Documentation
Course texts: "Il viaggio dell'eroe", Chris Vogler, Dino Audino Editore, Roma 2005 / "Story. The art of writing stories", Robert McKee, Omero editore, Rome 2018.Recommended text: "Consigli a un giovane scrittore", Vincenzo cerami, Garzanti, Milano 2002.
Reference Bibliography
-Type of delivery of the course
1st Lesson: Presentation of the first dramaturgical and cinematographic model of the laboratory: THE STRUCTURE IN THREE ACTS (which sinks into Freudian psychology) 2nd Lesson: Recognition of the structure in three acts in the films "The Overtaking" and "Rain Man". 3rd Lesson: Exercises and Applications of the narrative tools identified in the films seen: from the dramatic question to the conflict, from the psychology of the character to the narrative arc. How to move from the initial Idea to the Subject, from the Subject to the Ladder, from the Ladder to the Treatment, from the Treatment to the Screenplay. 4th Lesson: The increase of dramaturgical and emotional tension through the structure in three acts. With examples from the films "Duel" and "The Shark": recognition of turning points, the creation of tension, the points of attention of the story, the management of the emotional effect of the story, the construction of the scene and dialogues. 5th Lesson: Identification of the THEME of the film, that is, of the basic affirmation of the author who guides the story, in conflict with the CONTROTEMA (which is the negation of the basic statement). Analysis of the film "A difficult life". 6th Lesson: Exercises and practical examples carried out in the classroom, on existing films, such as "Life is beautiful", and on projects of the students themselves. 7th Lesson: Presentation of the second dramaturgical and cinematographic model of the workshop: THE JOURNEY OF THE HERO BY C. VOGLER (which sinks into Jungian psychology). The transition from the ordinary world to the extraordinary world and the arc of transformation of the character. 8th Lesson: Recognition of the "mythical" journey of Vaugler's hero in the films "Rocky" and Eight and a Half". How the founding values of storytelling can be the basis of completely different stories. 9th Lesson: The masks that according to Vaugler can be worn by the characters of the story: the 7 archetypal characters. Analysis of "The overtaking" in the light of Vaugler's point of view. 10th Lesson: Description of the key points of the story according to Vaugler: inner need of the protagonist, triggering incident, objective, antagonist. (They constitute the "secret diamond" of the story.) Practical examples in the classroom on projects of the students themselves. 11th Lesson: Empathy and Authenticity in film writing: examples from the films "Amadeus" and "Alien". 12th Lesson: Film adaptations from novels: analysis of the films "Someone flew over the cuckoo's nest" and "Death in Venice".Type of evaluation
Attendance is required for final eligibility, with a maximum absence of 3 lessons.