The aim of the course is to provide basic knowledge concerning the screenwriting, including some theoretical and practical aspects and points of view; also to familiarize with the different steps of the process of a script / film project, understanding the specificities of writing for a movie in its diversity from literature and theatre. The course proposes to highlight some moments of a screenplay in a critical and constructive way. Practical work focuses on: thematic idea (high concept), synopsis (max 5 lines), subject, characters (protagonist, antagonist), obstacles and choices, step outline for three acts, first and second draft of a treatment.
teacher profile teaching materials
The course aims to address some moments of cinematographic writing in a critical and constructive way, proceeding in theoretical and practical steps:
focus on a thematic idea (high / low concept);
drafting a synopsis of max 5 lines;
essential points of a subject;
character and character;
drafting a subject;
character construction (protagonist, antagonist, nearby characters);
character (character arc, obstacles, choices, goal, object of desire, insight);
step outline for a dramaturgical structure in three acts;
identification of turning points;
mid-point;
subplots / subplots ;
first and second draft of the treatment;
screenplay format and screenplay reference systems;
script analysis (character driven plot / action plot)
film viewing exempla
Francis Vanoye, Sceneggiatura. Forme, dispositivi, modelli, Lindau, 1999
Daniela Ceselli, L’esistenza incerta del testo-sceneggiatura, Le Mani, 2012 ( in ristampa)
Aspetti Pratici (
Robert McKee, Story, Contenuti, struttura, stile, principi della sceneggiatura
per il cinema e per la fiction Tv, International Forum Edizioni, 2008
Syd Field, La sceneggiatura, Lupetti, 1991
Luca Aimeri, Manuale di sceneggiatura cinematografica, UTET , 2007
Dara Marks, L'arco di trasformazione del personaggio, AudinoItalo Calvino, Lezioni americane, Mondadori, 1998
David Mamet, I tre usi del coltello, Minimum Fax, 2010
Raymond Carver, Il mestiere di scrivere, Einaudi, 1997
David Howard, Edward Mabley, Gli strumenti dello sceneggiatore, Dino Audino Editore, 1999
Programme
Prof. Daniela Ceselli PlanningThe course aims to address some moments of cinematographic writing in a critical and constructive way, proceeding in theoretical and practical steps:
focus on a thematic idea (high / low concept);
drafting a synopsis of max 5 lines;
essential points of a subject;
character and character;
drafting a subject;
character construction (protagonist, antagonist, nearby characters);
character (character arc, obstacles, choices, goal, object of desire, insight);
step outline for a dramaturgical structure in three acts;
identification of turning points;
mid-point;
subplots / subplots ;
first and second draft of the treatment;
screenplay format and screenplay reference systems;
script analysis (character driven plot / action plot)
film viewing exempla
Core Documentation
BibliografiaFrancis Vanoye, Sceneggiatura. Forme, dispositivi, modelli, Lindau, 1999
Daniela Ceselli, L’esistenza incerta del testo-sceneggiatura, Le Mani, 2012 ( in ristampa)
Aspetti Pratici (
Robert McKee, Story, Contenuti, struttura, stile, principi della sceneggiatura
per il cinema e per la fiction Tv, International Forum Edizioni, 2008
Syd Field, La sceneggiatura, Lupetti, 1991
Luca Aimeri, Manuale di sceneggiatura cinematografica, UTET , 2007
Dara Marks, L'arco di trasformazione del personaggio, AudinoItalo Calvino, Lezioni americane, Mondadori, 1998
David Mamet, I tre usi del coltello, Minimum Fax, 2010
Raymond Carver, Il mestiere di scrivere, Einaudi, 1997
David Howard, Edward Mabley, Gli strumenti dello sceneggiatore, Dino Audino Editore, 1999
Reference Bibliography
Di Age Scriviamo un film; Pratiche; Parma; 1990 Field Syd; La sceneggiatura; Lupetti (credo sia uscito nel 1990) "Manuale di sceneggiatura" di Massimo Moscati, Oscar Mondadori, Milano, 1989. Hauge Michael, Writing screenplays that sell, Harper Collins, New York, 1988 Tutti i testi di Linda Seger: Making a good script great, Dodd Mead, New York, 1987 (ripubblicato da Samuel French, Hollywood, 1989) Creating unforgettable characters, Henry Holt, New York, 1990 Story di McKee Lezioni americane di Calvino David Howard, Edward Mabley, Gli strumenti dello sceneggiatore, Dino Audino Editore, 1999Attendance
The course includes 4 hours of lessons per week, combining theory and practice. To achieve final eligibility, no more than two absences are allowed during the entire course. Active participation in workshops and discussions is an essential component of the assessment.Type of evaluation
Realization of the paper The verification of learning occurs through a written test that addresses the various steps of a cinematographic writing work (thematic idea, subject, step outline, character list, treatment). The paper is organized through a certain number of exercises, discussed in class, progressively modified in relation to the input received and the reflections made.Step outline project