20710592 - Laboratorio di sceneggiatura per il cinema 2

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


The course 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 is rooted in Freudian psychology)

- THE HERO'S JOURNEY BY C. VOGLER (which is rooted in Jungian psychology)

b) a practical one, with exercises, on how to move from IDEATION, from the INSIGHT that sparked the initial IDEA, to the SUBJECT (which is the STRUCTURED IDEA, THE PUTTING INTO HISTORY OF THE INSIGHT), to the LADDER (the articulation of the main movements of dramaturgy, the definition of the main NARRATIVE BLOCKS), to TREATMENT (the full-text EXPLORATION of the narrative universe, closer to the novel: where do the scenes happen? What does the protagonist think? We investigate in depth; the characters they objectify themselves other than us: they are alive and autonomous. We understand the MENTAL HORIZON OF THE CHARACTERS), to the SCREENPLAY (all the scenes, scene by scene: what happens in them, the characters, its meaning. It is the "PLACE" where works properly on the definition of the film. Dialogues, images, rhythm, psychology of the characters, narrative arcs find their fulfillment here before filming).

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 is rooted in Freudian psychology) 2nd Lesson: Recognition of the three-act structure in the films “Il sorpasso” 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 go from the initial idea to the subject, from the subject to the setlist, from the setlist to the treatment, from the treatment to the screenplay. 4th Lesson: The increase in dramaturgical and emotional tension through the three-act structure. With examples from the films “Duel” and “Jaws”: 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 the dialogues. 5th Lesson: Identification of the THEME of the film, i.e. the author's basic statement that guides the story, in conflict with the COUNTER THEME (which is the negation of the basic statement). Analysis of the film “A difficult life”. 6th Lesson: Exercises and practical examples carried out in class, on existing films, such as "Life is Beautiful", and on projects by the students themselves. 7th Lesson: Presentation of the second dramaturgical and cinematographic model of the laboratory: THE HERO'S JOURNEY BY C. VOGLER (which is rooted in Jungian psychology). The transition from the ordinary world to the extraordinary world and the character's transformation arc. 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 the story can be the basis of completely different stories. 9th Lesson: The masks that according to Vaugler can be worn by the characters in the story: the 7 archetypal characters. Analysis of “Il sorpasso” in light of Vaugler's point of view. 10th Lesson: Description of the key points of the story according to Vaugler: internal need of the protagonist, inciting incident, objective, antagonist. (They constitute the “secret diamond” of the story). Practical examples in class on students' own projects. 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 “One Flew Over the Cuckoo's Nest” and “Death in Venice”.

Type of evaluation

Evaluation will be given based on attendance, with a maximum of 3 absences allowed.