Drama and Cinema Scripts
Code: 103066Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Audiovisual Communication | OP | 3 |
Contact lecturer
- Name :
- Carmen Ávalos Del Pino
- Email :
- mariadelcarmen.avalos@uab.cat
Group languages
You can consult this information at the end of the document.
Prerequisites
there are no prerequisites
Objectives
- To deepen the knowledge on theoretical concepts for the creation of screenplays
- To analyse audio-visual products, especially cinematographic ones, from narrative and genre-based perspectives.
- To apply the theoretical and technical concepts in the creation of screenplays
- To create an original screenplay of a standard suitable for presentation to the film industry
Learning outcomes
- CM02 (To create new ways of telling stories through audiovisual products by integrating the gender perspective based on a synthesis of the various narrative models.) To create new ways of telling stories through audiovisual products by integrating the gender perspective based on a synthesis of the various narrative models.
- SM03 (To analyse the narrative of radio, audiovisual and transmedia products.) To analyse the narrative of radio, audiovisual and transmedia products.
- SM04 (To identify the role of point of view and narrative perspective in audiovisual storytelling.) To identify the role of point of view and narrative perspective in audiovisual storytelling.
- SM05 (To properly structure audiovisual scripts (dramatic unit, conflict, time and space), with narrative resources and in-depth character and dialogue development.) To properly structure audiovisual scripts (dramatic unit, conflict, time and space), with narrative resources and in-depth character and dialogue development.
Contents
The module will incorporate a gender perspective and encourage the use of inclusive language throughout, both in the writing of original screenplays and in the study of screenwriters and their work.
1.- Introduction
- Contemporary reality as a narrative resource
- Rethinking scriptwriting: starting with images to reach words
- Searching for a theme: what interests us most about the world around us
- Reflections on the use of AI in scriptwriting
2. Narrative Structures
- Classical and unconventional narrative structures
- Contemporary narrative structures in cinema
- How narrative structure determines the audience
3. Character Development
- Characters in recent cinematography
- Balance between archetype and idiosyncrasy
- Functionality of main and secondary characters
- Internal construction of characters (motivations, intentions) based on external traits
4. Construction of Sequences
- Comparison between a sequence and a short film
- The distribution of information and the creation of suspense within a sequence
5. Audiovisual Writing
- Writing to generate images
6. Preparing a Dossier
- Chapters of a professional dossier
- Layout of a professional dossier
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Tutorials | 7.5 | 0.3 | CM02, SM05 |
| Theoretical classes | 15 | 0.6 | CM02, SM03, SM04 |
| Seminars | 15 | 0.6 | SM03, SM04 |
| Practical Work | 22.5 | 0.9 | CM02, SM05 |
| Personal work, analysis and synthesis of written/audiovisual texts | 37.5 | 1.5 | CM02, SM03, SM04 |
| Preparing for practical work | 45 | 1.8 | CM02, SM03, SM04 |
Objectives will be reached through theoretical classes, seminars and practical activities.
Theoretical classes are based on: (a) the viewing of multiple fragments of films and (b) debates in the classroom about their scripts.
The main objective of the seminars and practical sessions is the realization of a original and professional short film script from the idea to the writing. Students will work weekly in their scripts and the teacher will correct regularly the advances in the face-to-face tutoring.
Autonomous activities of students are equally essential to achieve the learning objectives.
In this module, innovative teaching methodologies such as the flipped classroom, will be used in case studies of selected films.
Students will be provided with films to watch independently before class. This approach will allow more classroom time to be devoted to analysis, discussion, the exchange of ideas, and the exploration of questions arising from the viewing. Two seminars will be dedicated to this activity.
Project-based learning (PBL) will be applied in the practical part of the course.
A detailed schedule outlining the content and activities of each session will be presented during the introductory class and made available on the module’s Virtual Campus. Students will also find all teaching materials and relevant information required for the successful completion of the module.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Dossier and Pitch Presentation for the Script | 10% | 1 | 0.04 | CM02 |
| Written assignments | 50% | 3 | 0.12 | CM02, SM03, SM04 |
| Screenplay | 40% | 3.5 | 0.14 | CM02, SM03, SM04, SM05 |
Assessment for this module comprises the following components:
Original short film screenplay: 50% of the final mark
Five written assignments: 50% of the final mark
Attendance is mandatory in order to participate at the Continuous Assessment
Those who have not passed the continuous evaluation, (as well as those who have one or more unjustified absences), will have to take an exam including all the theoretical themes.
To pass the practical part of the subject, students will develop the script of a professional short film, which will be supervised by the professor.
Students will be entitled to the revaluation of the subject. They should present a minimum of activities that equals two-thirds of the total grading.
To have access to revaluation, the previous marks should be 3,5.
The activities that are excluded from the revaluation process are those related to the writing of a script.
Plagiarism
The student who performs any irregularity (copy, plagiarism, identity theft...) will be qualified with 0 in this assignment or exam. In case there are several irregularities or a very important one, the final grade of the subject will be 0.
For this course, the use of Artificial Intelligence (AI) technologies is permitted exclusively for support tasks, such as bibliographic or information searches, text correction, or translations. Students must clearly identify any parts generated with these technologies, specify the tools used, and include a critical reflection on how AI has influenced the process and final outcome of the assignment. Failure to disclose the use of AI in this assessed activity will be considered a breach of academic integrity and may result in a partial or total penalty to the assignment grade, or more serious sanctions in severe cases.
Non-Assessable
Following point 9 of Article 266 of the UAB Academic Regulations, if it is determined that the student has not provided sufficient evidence to be evaluated, the subject will be classified as non-assessable.
Bibliography
BROWN, Larry A (2018): How Films Tell Stories. The Narratology of Cinema. Creative Arts Press.
CRUZ, Coral (2014). Imágenes Narradas. Cómo hacer visible lo invisible en un guion de cine. Laertes.
DAVIS, Rib (2016) Creating Compelling Characters for Film, TV, Theatre and Radio. Bloomsbury Academic.
DUNHA, Lena (2018): Dueñas del Show. Las Mujeres que están revolucionando las series de television DUEÑAS DEL SHOW. Joy Press / Alpha Decay
MACÍAS, Juana (2003) 24 palabras por segundo: cómo escribir un guion de cine. Instituto Oficial de Radio y Telelvisión (IORTV), Madrid, 2003.
MC KEE, Robert. (2002) El guion: sustancia, estructura, estilo y principios de la escritura de guiones; traducción: Jessica Lockhart. Ed Alba, Barcelona.
MEAD, Rebecca Mead et Al. (2019) El cuento de la criada. Ensayos para una incursión en la república de Gilead. Errata Naturae.
PIÑOL, Marta et Al. (2019) Imaginar Mundos. Tiempo y memoria en la ciencia ficción 2019. Sans Soleil ediciones
TUBAU, Daniel (2007) Las paradojas del guionista. Reglas y excepciones en la práctica del guion. Ed. Alba, Barcelona.
SEGER, Linda (2018) El secreto del mejor cine: El subtexto en el guion y en la novela. Ed. Rialp
SELECKY, Sarah (2025) Story is a state of mind. Ed Assembly Press
TIMBAL-DUCLAUX, Louis (1993) Escritura creativa: técnicas para liberar la inspiración y métodos de redacción. Madrid, EDAF
VOGLER, C. (2002) El viaje del escritor. Las estructuras míticas para escritores, guionistas, dramaturgos y novelistas. Ediciones Robinbook, Barcelona.
Online Documents
García Serrano, Federico (2009) Las técnicas del “pitching” en el mercado audiovisual español: del “caramelo” al guion.
http://eprints.ucm.es/8577
http://eprints.ucm.es/8577/1/Pitching_del_caramelo_al_guion.pdf
Chung, Lee Isaac. Minari screenplay. https://deadline.com/wp-content/uploads/2021/03/Minari-Screenplay.pdf
Fennell, Emerald. Promising Young Woman screenplay. https://s3.documentcloud.org/documents/20457415/promising-young-woman-final-screenplay.pdf
Field, Syd, Manual del Guionista http://www.laescaleta.mx/wp-content/uploads/2017/09/syd-field-el-manual-del-guionista-.pdf
Gutiérrez Herranz, Maria Rosa. Història del Cinema. 2014-15. (1139 Grau en Humanitats 778 Grau en Humanitats) https://ddd.uab.cat/record/120258
Hittman, Eliza. Never Rarely Sometimes Always screenplay. https://focusfeaturesguilds2020.com/never-rarely-sometimes-always/screenplay/Never_Rarely_Sometimes_Always.pdf
July, Miranda. Kajillionaire screenplay https://focusfeaturesguilds2020.com/kajillionaire/screenplay/Kajillionaire.pdf
Johnson, Rian Knives Out screenplay https://lionsgate.brightspotcdn.com/fb/14/23cd58a147afbb5c758ecb3dff0a/knivesout-final.pdf
Labaki, Nadine, Capernaum Screenplay https://www.sonyclassics.com/awards-information/2018-19/screenplays/capernaum_screenplay.pdf
Luzón, Virginia; Puig, Joaquim; Ramírez, Ferran. De la viñeta a la cámara (2013) https://ddd.uab.cat/record/171644?ln=ca
Mckee, Robert. El Guion. https://tfreites.weebly.com/uploads/2/6/3/8/26387211/el-guion-robert-mckee-pdf.pdf
Nolan, Christopher. Tenet screenplay https://drive.google.com/file/d/1-T3zyGiaNczvSvASWD_T8WCcv3aMcGLG/view
Reichardt, Kelly. First Cow Screenplay https://deadline.com/wp-content/uploads/2021/02/FIRST-COW-screenplay.pdf
Ribes Guàrdia, Francesc Xavier [et al.]. «Impacto de la interactividad en la identificación con los personajes de ficciones». Psicothema, Vol. 22, núm. 4 (2010), p. 822-827. https://ddd.uab.cat/record/132186
Rogers, Steven. I, Tonya. http://neonguilds.com/assets/downloads/i-tonya-screenplay.pdf
Ross, Mat, Captain Fantastic Screenplay http://assets.bleeckerstreetmedia.com.s3.amazonaws.com/503cc4fa-3011-4cbe-8939-bda373ba3fca/full.pdf
Sorkin, Aaron. The Trial of the Chicago 7 https://deadline.com/wp-content/uploads/2020/12/The-Trial-of-the-Chicago-7-Script.pdf
Zeller, Florian. The Father Screenplay https://www.sonyclassics.com/assets/screenplays/thefather/thefather-screenplay.pdf
Zhao, Chloé. Nomadland screenplay. https://deadline.com/wp-content/uploads/2021/02/Nomadland-Screenplay.pdf
Professional Associations
Antuña, Sara i Carlos de Pando (presentadors), podcast oficial del sindicato de guionistas ALMA, https://www.youtube.com/playlist?list=PLhpP36YxKT-p0meuOYww-P4G_Pq6_m1pk
Federation Screenwriters Europe http://www.scenaristes.org/
Writers Guild of America (WGA) http://www.wga.org/
Foro de Asociaciones de Guionistas Audiovisuales http://www.sindicatoguionistas.org/
Associació de Guionistes de Catalunya http://www.guionistes.cat/
Escriptors de l’Audiovisual Valencià http://www.edav.es/
Asociación Galega de Guionistas (AGAG) http://www.culturagalega.org/avg/index.php
Autores Literarios en Medios Audiovisuales (ALMA) http://www.asociacionalma.es/
Sociedad General de Autores y Editores (SGAE) http://www.sgae.es/
Derechos de Autor de Medios Audiovisuales (DAMA) http://www.damautor.es/
El Portal del Guión http://www.abcguionistas.com/
Programa MEDIA http://ec.europa.eu/culture/media/index_en.htm
Software
The use of Canva is recommended for the design and layout of the dossier, as it facilitates the creation of clear, well-structured, and visually coherent documents.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 4 | Catalan | second semester | morning-mixed |
| (PLAB) Practical laboratories | 41 | Catalan | second semester | morning-mixed |