Off Campus Provision of London Metropolitan University, Department of Humanities, Arts, Languages and Education

The London Film School

MA SCREENWRITING

Course Handbook

For admission in 2013-14.

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Contents

(a) Introduction to the Course ............................................................................................ 4 (b) Using This Handbook ................................................................................................... 4

2. Postgraduate Study at London Metropolitan University ....................................................... 4 3 The course .......................................................................................................................... 5

(a) General ........................................................................................................................ 5 (h) Location and Facilities supporting the course .................................................................... 8 (i) Disability and Dyslexia........................................................................................................ 8

4. Being a Postgraduate Student ......................................................................................... 9 (a) Attendance and employment ....................................................................................... 9 (b) Studying ..................................................................................................................... 10 (c) Mobile Phones ........................................................................................................... 10 (d) Enrolment .................................................................................................................. 11 (e) Credit for previous learning ........................................................................................ 11 (f) Assessment ............................................................................................................... 11 (g) A two-way contract ..................................................................................................... 12

5. Communications ............................................................................................................ 12 (a) Contacting staff .......................................................................................................... 12 (b) Staff needing to contact you ....................................................................................... 13 (c) Course representative ................................................................................................ 13 (d) Course Committee ..................................................................................................... 13 (e) Feedback from students on modules and courses ..................................................... 13 (f) Complaints ................................................................................................................. 13 (g) Module/Award results and transcripts ........................................................................ 13

6. Sources of Information and Advice ................................................................................... 14 7. Course Timetable .............................................................................................................. 14

(a) Schedules .................................................................................................................. 14 (b) Term Dates and Calendar .......................................................................................... 14

8. Screenplay projects and journals ...................................................................................... 15 (a) Supervision Arrangements ......................................................................................... 15 (b) Submission ................................................................................................................ 15

9. Marking and Assessment .................................................................................................. 16 (a) Marking and grades ................................................................................................... 16 (b) In case of a fail ........................................................................................................... 16 (c) Your rights concerning Assessment ........................................................................... 16 (d) Assessment Board Decisions .................................................................................... 16 (e) Your responsibilities concerning assessment ............................................................. 17 (f) Handing in work ......................................................................................................... 17 (g) Mitigating circumstances ............................................................................................ 17 (j) Publication of Results ................................................................................................ 18

10. Study Resources and Facilities ..................................................................................... 18 (a) Libraries ..................................................................................................................... 18

North Campus ................................................................................................................... 18 Special Collections ............................................................................................................ 18 Catalogues ........................................................................................................................ 19 Photocopying and Binding ................................................................................................ 19 Access to other libraries .................................................................................................... 19

(b) Computers and IT Facilities ....................................................................................... 20 (c) Useful Links and Resources ...................................................................................... 20 (f) BFI Southbank Cinema ................................................................................................. 20

11. Regulations ................................................................................................................... 21 (a) University Academic Regulations ............................................................................... 21 (b) London Film School Regulations ................................................................................ 21

12. Directory of modules for the course ............................................................................... 22

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13. Course Specification...................................................................................................... 23 Unit 1: The Screenwriters Craft ................................................................................................ 29 Unit 2: The Screenwriter‟s Practice .......................................................................................... 36 Unit 3: Writing the Feature Film ................................................................................................ 41

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1. Welcome to the MA Screenwriting course at the London Film School This is the Course Handbook for the MA Screenwriting at the London Film School. The staff in the Department of Humanities, Arts, Languages and Education (HALE) at London Metropolitan University and that of the London Film School wish you a warm welcome to London Metropolitan University and the London Film School, and to the study of screenwriting.

(a) Introduction to the Course The London Film School is one of a small group of exceptional internationally recognised film schools. The skills it teaches are at professional industry standards and its graduates are known across the world as leading directors, directors of photography, editors and so on. The course is intense and exciting. The School is the oldest film school in the United Kingdom and one of the pioneers of film education in the world. The MA Screenwriting course is aimed at developing screenwriting skills in the context of a filmmaking community where writing is an everyday practice and a collaborative process involving actors, directors, musicians, editors and producers. At LFS we explore the boundaries between writing and directing and stimulate debate through classes in film history, crosscultural approaches to dramaturgy and script readings with professional actors. Regular screenings of classic and contemporary films in our own film theatre and visits by contemporary filmmakers complement the core practical work of developing a feature screenplay.

(b) Using This Handbook There is a considerable amount of information contained in this handbook, some of which will be of greater relevance to you as you work through your postgraduate studies than it is at the start of your course. Please keep it safely as you will need to refer to it through your course. We recommend that you read this Course Handbook through carefully. It is focused on your course, so you will find that from time to time you need to consult other more detailed sources of information, including the London Metropolitan Student Handbook, which contains the University‟s Regulations. It can be consulted on-line (at www.londonmet.ac.uk/student-handbook ) and the LFS Student‟s Virtual Learning Environment, known as Moodle (for details see section 10 ).

You should note that, occasionally, in order to improve the Course the details in this handbook may be amended or revised.

2. Postgraduate Study at London Metropolitan University The details of your course curriculum and structure are set out in the Course Specification (see Section 13 ) and you should study this closely. The Masters award has a total credit point value of 180 points at level M. This represents a total volume of 1800 notional learning hours associated with the award, where 1 credit point is equivalent to 10 learning hours. Full time students may start the course every September. Your taught course will take one year, made up of three twelve week terms. The course is non-modular consisting of three Units to be taken consecutively. Each Unit has a Film component and a Journal component. Unit 1 and Unit 2 Film components are marked

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Fail/Pass. Unit 3 Film component is marked Fail/Pass/Distinction, with the Distinction carrying through to the Award. Journal components are marked Fail/Pass/Merit.

In addition to the Masters award, the MA Screenwriting course offers the exit awards of Postgraduate Certificate or Postgraduate Diploma. The full list of awards and their requirements in terms of credits and modules passed at level M is as follows:

Award Credit Points at level M Modules Required

Masters 180 credits Unit 1+ Unit 2 + Unit 3 Postgraduate Diploma 120 credits Unit 1 + Unit 2 Postgraduate Certificate 60 credits Unit 1

The Postgraduate Certificate and Diploma awards offer the opportunity to obtain a postgraduate qualification if you are unable to complete the full programme of study leading to a Masters award at the University. They are particularly useful for students in certain circumstances, for example when a student finds they have to curtail their postgraduate studies unexpectedly, for personal or employment reasons, or who find that their aims and ambitions change and they wish to take a different direction. The Postgraduate Certificate and Diploma are not available with Merit or with Distinction grades. For most students, of course, your goal will be to achieve the full Masters qualification. The Graduate School wishes you every success in achieving this ambition and hopes that you have an intellectually stimulating and personally rewarding time as a postgraduate student at London Metropolitan University.

3 The course

(a) General This is an outline of what your experience throughout the course will be like. Further down in the handbook you will find more details of what is required of you in, for example, assessment. Reference is made to other documents which contain more detail, for example on the material requirements and limitations of the exercises you will have to write. The course is very intense. There is a heavy schedule of classes many of which are compulsory. Working on written assignments is also compulsory and most of these are tightly scheduled as well. Weekly schedules are posted via email and the school‟s online learning site and you need to refer to these constantly. In your unscheduled time you are expected to work on your Journal, to develop your projects for future exercises and continue with your own reading and viewing programs. The establishment of a specialist MA in Screenwriting is a part of the continuing academic and professional development at LFS. The MA Screenwriting course is unique in the UK, offering writers the opportunity to work within a filmmaking community in collaboration with directors and other writers. The course is aimed at those who are excited by filmmaking and cinema – who are keen to understand what is distinctive about the screenwriter‟s role in that process – and equally keen to work professionally within the film and television industries, either in the UK or their country of origin. The course fills a full calendar year and is aimed at writers committed to working intensively and at speed on projects that are full-time rather than part-time endeavours.

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(b) Course Philosophy

To encourage writing as a state of mind and everyday practice

To stimulate a reflective and critical approach to practice

To provide an historical background to filmmaking

To place the screenplay in the context of a collaborative filmmaking process

To explore the boundaries between writing, directing and producing

To stimulate alternative approaches to screenwriting through awareness of different dramaturgical traditions

To take on writers who are capable of developing a mentoring relationship with a working professional

To focus on the development of each writer‟s individual voice and vision, in tandem with the development of key skills necessary to the craft of writing for cinema

To create a context in which the writer works with others involved in the filmmaking community – directors, actors, musicians, designers, producers – not only as a writer but potentially in other roles in the development and production process

(c) Course Structure The programme is non-modular. It is composed of three units to be taken sequentially. The course is full-time only and lasts one year. Some of the component classes are term specific and others run continuously throughout the whole programme. Teaching involves lectures, seminars and workshops taught by in-house tutors and visiting professionals, incorporating:

An emphasis on student-centred learning, which enables writers to develop transferable skills, knowledge and competence through active participation in the teaching and learning processes of each unit

An expectation that students will take a high level of responsibility for their own learning and development

An emphasis on the practice of writing in a collaborative and professional context

The integration of specialist areas of screenwriting alongside regular contact with industry professionals

Using these guidelines, a range of teaching and learning methods will be employed, such as::

- lectures with hand-outs and other aids, including video/DVD, to provide a systematic introduction to key issues

- lectures and practice-based seminars by visiting practitioners - screenings of classic and contemporary short and feature films followed by

analysis and discussion to deepen the understanding of film history and context. Many of these take place with students from the MA Filmmaking, thus creating an opportunity for communication between the course, as well as potential collaboration.

- a series of writing workshops with regular practical exercises complementing the assessed projects

- student-led seminar discussions on topics raised in lectures where students can develop creative and critical skills

- case-studies to develop student understanding of professional practice, filmmaking traditions, and their own skills in analysis and communication

- filmmaking exercises involving professionals and students from other filmmaking disciplines to enhance the writers‟ practical understanding of how others involved in making movies work with the screenwriter‟s text

- individual tutorial sessions to provide specialised guidance and feedback

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- individual mentoring by practicing professionals to support the development of the major writing project, a feature film screenplay (term three only)

(d) Work and research journal Students are required to keep a work and research journal, which will be used to record their critical reflections on the theoretical and practical elements of the course, as well as critical and creative responses to related experiences and reflections on their own work-in-progress. The Work and Research Journal should be developed and written in the context of the course objectives and the individual writer‟s aims and ambitions. At the beginning of the year and for each subsequent term, students are expected to write down their aims and also describe how they will assess their personal development in relation to these aims. At the end of the unit, they are expected to comment in writing on their success and shortfalls as measured by their own assessment. This offers students the opportunity to present their goals for the unit, formulate their own criteria for self-assessment and reflect on their progress as measured by these criteria. The Work and Research Journal should be considered both as a valuable future resource for the writer as well as a means of monitoring and assessing the work towards the MA in Screenwriting. The approach should be balanced and rigorous, encompassing the writer‟s creative and critical, artistic and analytical, intellectual and imaginative encounters with his/her own work and other‟s at LFS and beyond.

(e) Mentoring Monitoring of a student‟s progress and mentoring throughout the course will come first and foremost from the course leader in consultation with course tutors. Each student will also be assigned a personal tutor, who will schedule one-to-one consultations, at the beginning and end of each term to discuss progress on the Work & Research Journal, the short film and the feature project. Meetings with Personal Tutors are also an opportunity to discuss related issues and development in relationship to individual aims. In the third term, each writer will be given the opportunity to meet three times with a mentor to discuss their feature project and future career plans. Mentors will be chosen by the course leader in consultation with the development tutors, who have been working with the writers in Term 2. A key element of mentoring is the matching of the feature project and the student writer‟s background with a practising professional, most likely a writer or development executive, though possibly a director or producer.

(f) Screenings A sense of the history of their chosen art and craft and an awareness of the international and national context of contemporary film is a necessary basis for the critical and informed use of the screenwriting skills students will be honing in workshops and through targeted writing exercises. Viewing and discussing as many significant films as possible is vital to the development of a critical vocabulary sufficient to enable collaborations centred on the development of their own work. There is a full program of evening screenings in the School‟s two cinemas. Practitioners from the film industry come in to show and discuss their work with the students; this keeps the students alert to new technical and craft developments. Screenings are also aimed at developing a lively and critical sense of film culture. There is an active film society whose main

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purpose is to represent the students‟ film interest, but which also co-operates with teaching programs to supplement day-time showings. Whenever possible the School insists on showing films in 35mm and in ratio of the original presentation so students can get an exact sense of colour and composition. Screenings are preceded by contextual introductions and are followed by lecture and discussion. (g) Collaboration with MA Filmmaking Students Students on the MA Screenwriting course will attend classes in film history and analysis with students on the MA Filmmaking course. At these times and others – both scheduled and impromptu – screenwriting students will have opportunities to develop the creative relationships that lead to productive collaboration. The collaboration can range from exchanging ideas to developing scripts and working on student films. It is expected that many of these relationships will develop outside the curriculum and beyond the completion of the course. It should be made clear, however, that while these opportunities exist there is no guarantee that scripts written by MA Screenwriting students will be produced by students on the MA Filmmaking course. It is just as valuable for writers to be part of the development of other people‟s scripts as to see their own stories on the screen.

(h) Location and Facilities supporting the course The course is taught at the London Film School, 24 Shelton Street, London WC2H 9UB. Other facilities nearby are employed when necessary.

(i) Disability and Dyslexia

The London Film School will, to the best of its ability comply with the Disability Discrimination Act of 1995 (DDA), as amended by the Special Educational Needs and Disability Act of 2001 (SENDA). This act makes it unlawful for universities and providers of higher education and related services to discriminate against disabled applicants, potential applicants or its students The London Film School welcomes every student who is capable of succeeding on a chosen course. We recognise that it is each individual‟s determination, potential and commitment which count. We also recognise that students with disabilities and those with specific learning difficulties, such as dyslexia, often have to be extra determined and committed in order to achieve their academic potential. This is because there are more barriers in the way of their learning and more obstacles to get through in their daily lives. We are working hard to remove the barriers to learning and enjoyment within the University environment. We also aim to make things more equitable for disabled and dyslexic students by providing a range of support for their individual needs. Students with disabilities include those who have:

visual impairment

deafness or are hard of hearing

dyslexia or other specific learning disabilities

autistic spectrum disorders, Aspergers or dysphasia

mental health difficulties

medical conditions such as asthma, epilepsy, sickle cell, cystic fibrosis, M.E. Our policy on disabled students is based on the QAA Code of Practice for the Assurance of Academic Quality and Standards in Higher Education, Section 3, Students with Disabilities, (1999). www.qaa.ac.uk/Publications/.../Section3Disabilities2010.pdf

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Our Disabilities and Dyslexia Service can assist you if you have a disability, long-term medical or mental health condition or Specific Learning Difficulties (e.g. dyslexia). Support can include

Exam adjustments, alternative assessment arrangements, extended assessment deadlines

Accessibility related classroom adjustments

Internal needs assessment report, to identify needs to Academic Staff

Assistance to apply for study-related funding If you are eligible for support, the Advisers can help you obtain a range of adjustments depending on the level of need identified. Please Note

1. There are some aspects of course assessment that cannot be changed. These are known as „competence criteria‟. To be identified as „competence criteria‟ the assessed items must be essential to the course and all students must be able to fulfil these criteria. Although in such situations it may not be possible to alter the format of the assessment, you may still be entitled to adjustments (e.g. extra time or an amanuensis).

2. Adjustments and extra support can be arranged only after a full assessment is made. You

may contact student services in the first instance for further information.

We commit ourselves to making “reasonable adjustments”, within the constraints of our building, while maintaining competence standards, so that disabled people are not knowingly placed at a disadvantage. While we cannot claim to have all the facilities and services that will meet each need for students undertaking an MA Filmmaking programme, we will endeavour to remove barriers to access and to success in post graduate film education for disabled people. LFS is striving to provide a quality of experience for all its students and to develop its services for disabled and dyslexic students and will include them fully in all activities in the school. Where necessary, Student Services will engage the help of teaching support agencies for students with specific and identified learning difficulties. Over the past 20 years, the School has supported students with impaired vision and impaired hearing in collaboration with specialist support agencies. Our aim is to continue to familiarize ourselves with the relevant guidelines available to us to ensure positive discrimination in all areas. We will include a questionnaire in our prospectus pack to give applicants the opportunity of declaring their disability. Students can declare their disability by confiding in the Student Services, Personal Tutor, Term Tutor or Head of Department.

4. Being a Postgraduate Student Undertaking academic study at postgraduate level is likely to be a new and different way of studying from your previous experience. Generally, you will be studying more specialised subject matter and working at a more advanced level, covering more ground relatively quickly and over a shorter time span. You will be expected to pursue your studies with a greater degree of independence than is customary at undergraduate level, setting your own learning objectives within the framework of the course and its modules. The following paragraphs highlight some general features and expectations associated with being a student on a postgraduate degree course.

(a) Attendance and employment You are expected to attend the various lectures, seminars and other classes that make up your course. Regular attendance is a formal requirement and an important factor in your successful completion of the course. Most subjects are progressive in their content with sessions building upon each other, so if you do miss sessions you will need to catch up with any work that you

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have missed. You should inform your Course Leader and Term Tutors if you are going to be unable to attend your course for some time, other than the occasional unavoidable absence. You should also refer to section 9(g) on mitigating circumstances. Attendance for all classes is compulsory. Please be punctual and aim to arrive at the published start times for teaching sessions. If you are unavoidably delayed, please enter the teaching room as quietly as possible. If you are self-supporting financially and a full-time student we recognise that you may need to undertake some part-time work, although we strongly advise you not to take employment of more than 15 hours a week. Please note - for international students, the University is required by the UK Border Agency (UKBA) to confirm that you are in regular attendance. Failure to attend classes may lead to the UKBA cancelling your student visa.

(b) Studying Your course will provide you with constant opportunities to learn new skills and acquire knowledge in your chosen subject areas. You must attend all your timetabled classes that normally include a lecture and a session in a smaller group for each module. You also need to study in your own time and you should plan to spend ten hours a week on each module, making a forty-hour week commitment for a full-time student. You need to allocate this time in your diary. Prepare for lectures and tutorials by doing any reading or exercises in advance. Always make some notes – there is usually a handout provided. Review these after the class and ask your tutor if there is anything you do not understand. Note assignment deadlines and exam dates in your diary and remember to begin assignments early. It is your responsibility to familiarise yourself and comply with all of the relevant assessment deadlines. You will enjoy researching and planning your work if you allow yourself plenty of time. Make sure you understand what you need to do and plan how you are going to tackle it. Seek advice from the module leader if there is anything that needs clarification. You must:

plan your learning strategy allocate enough time attend all of your module lectures, tutorials and other sessions start assignments well in advance be aware of and comply with all assessment deadlines seek advice and help from tutors when needed use the learning resources offered enjoy the learning experience!

(c) Mobile Phones Please be respectful of the learning environment and remember to switch off your mobile phone before entering all classes and study areas.

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(d) Enrolment You must register with the Film School at the beginning of your course and then again at the beginning of each term. You must pay your fees in order to participate in the course. When you sign the registration form you confirm that you accept and will follow the regulations of the London Film School. You must also enrol formally with the University. We will provide you with the necessary forms. The University will confirm your registration. If you do not register with the University you will not be able to graduate. By signing the enrolment form you confirm that you accept and will follow the University‟s regulations. You receive a University ID card as well as other useful documentation. The University ID card contains your library number and network username. It also allows you entry into the University‟s buildings, including specialist facilities such as the Graduate Centre on the North campus. Each card is set with an expiry date when you enrol, usually the beginning of the next academic year. If you have not been able to fulfil all of the enrolment requirements then an earlier expiry date is set. You will always be told what you need to do to complete your enrolment.

(e) Credit for previous learning If you already hold a qualification (for example from another college) that may exempt you from part of your course, you may apply for Accreditation of Prior Certificated Learning (APCL). Similarly, if you have undertaken work, paid or voluntary, that has resulted in learning skills or knowledge equivalent to a module you will be studying you may apply for Accreditation of Prior Experiential Learning (APEL). Collectively these are known as Accreditation of Prior Learning (APL). It is important to be aware that any application for APL credit in respect of postgraduate studies must be based on prior learning or experience at a suitably advanced level. This means that it is not normally possible to accredit prior learning at undergraduate level, even if the content may appear similar. The University operates the European Credit Transfer System (ECTS), where 1 European credit (ECTS) is equivalent to 2 UK credits (CATS). Thus, each taught module of 20 credits is normally equivalent to 10 ECTS credits, and a full Masters of 180 UK credits is equivalent to 90 ECTS. If you wish to claim for APL please contact your Postgraduate Office or refer to the Index (Section 15) of this handbook for further information. If you wish to claim for APL please contact your Course Administrator.

(f) Assessment Assessment is, of course, an important feature of academic study at postgraduate level. Detailed assessment requirements are set out in each module booklet, together with learning outcomes which specify the key forms of achievement or performance required. These indicate the main areas of subject knowledge and skills to be assessed and they provide a focus for your studies. Completion of your screenplays and journals is crucial to your achievement of your award at the end of the course. It is important that you understand clearly the expectations and deadlines for the various forms of assessment on each module. Further information is available in sections 9 and 13 of this handbook.

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(g) A two-way contract As a student you should: Follow the regulations as you agreed at enrolment Attend all the classes on your timetable Adhere to deadlines Provide documentation when requested Check your schedules and email account regularly The University will: Monitor its standards and procedures to provide a quality service Ensure that every student is treated with equity and fairness Provide access to administrative areas at agreed times Answer queries and provide timely, accurate and clear information

5. Communications We aim to do our best to keep you informed of what you need to know at all times. You need to be aware of, and to check regularly, your Course Schedule notice-board and your email account.

(a) Contacting staff Your main contact for personal academic advice concerning your course and studies, including detailed advice on programme planning and for programme approval, is your Personal Tutor. For academic advice and information relating to specific exercises and similar issues you should see your Term Tutor. We will do our best to keep you informed of what you need to know at all times. On arrival at the school you will be given an email account - you should check your emails as often as possible. You may need to contact members of our course team at times: Brian Dunnigan (Course Leader): b.dunnigan@lfs.org.uk Ellis Freeman: ellis@bellstreet.demon.co.uk Jonathan Hourigan: jonathan.hourigan@btopenworld.com Philip Palmer: jp.palmer@btinternet.com Roger Hyams: rh.baldy@virgin.net Sue Austen: sue.austen@btinternet.comKatie Rae: katie.rae@virgin.net Amanda Schiff: cabinet.curiosity@btinternet.com Jon Gilbert: jongilbert47@hotmail.com John Sibley (Academic Secretary): j.sibley@lfs.org.uk

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(b) Staff needing to contact you There will be times when University staff may need to contact you, either by letter, phone, or email, perhaps to arrange a meeting, to provide you with information, or to respond to a query from you. It is therefore essential that your contact details are kept up to date on our records. Please inform the Administration immediately of any change of address, telephone number or email address.

(c) Course representative Feedback from students is vital to the University. This is obtained in different ways to find out how well the teaching, guidance and other services are working. You will have the opportunity to elect a fellow student as your course representative. Course Representatives provide direct feedback from students on the course and raise any issues on their behalf.

(d) Course Committee A Course Committee, normally convened each semester, reviews a set of modules and courses and provides quality assurance. The student voice is heard through the Course Representatives. Key staff, including course and module leaders attend. There are terms of reference governing course committees and it is a requirement that action taken is reported back to the students.

(e) Feedback from students on modules and courses The School has a number of ways in which it seeks feedback from students. Informal feedback from students is always welcomed by staff. There are also more formal opportunities to provide feedback, such as the through the MA Screenwriting Course Committee and the LFS Student Survey. See the „Student Voice‟ section on Moodle for more information. Student feedback is very important to the School and is central to its processes to improve the quality of the courses and the experience of students at the School.

(f) Complaints The School has a Students Complaints Procedure, available on Moodle.

(g) Module/Award results and transcripts At the end of each semester Assessment Boards (Postgraduate Subject Standards Boards and Awards Boards) confirm marks and awards. These results are then made available to you on Moodle and the notice-boards in the coffee bar. Official transcripts are posted to you at your home address on the completion of your course. There is no charge for this end of course transcript. During your course you may need a formal transcript, stamped by the Postgraduate Registry, for reason of employment or to provide proof of study at the University. You should make your transcript requests to the Postgraduate Registry and you will need to pay an administrative fee before the transcript is produced. We aim to produce your transcript within 5 working days of your request.

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6. Sources of Information and Advice Your Course Leader is responsible for the day-to-day organisation of the course and liaises with other staff teaching on the course. Problems or concerns you have about scheduling, particular classes, the requirements of your exercises, general queries about journals and so on should be put to the Course Leader in the first place.

7. Course Timetable

(a) Schedules Schedules will be posted via email and on Moodle. In case of last minute changes to schedules you are advised to check your emails daily.

(b) Term Dates and Calendar

Autumn Term Begins Monday 16 September

General Meet- Association – 5.30pm

Tuesday 26 November

Feature Hand in by 12pm Friday 29 November

Journal Hand in by 12pm Friday 06 December

Autumn Term Ends Guest Show

Friday 06 December

LFS Annual Show TBC TBC

Spring Term Begins Monday 06 January

AGM – 5:30pm Tuesday 18 March

Feature Hand in by 12pm Friday 21 March

Journal Hand in by 12pm Friday 28 March

Spring Term Ends Guest Show

Friday 28 March

Summer Term Begins Monday 28 April

General Meet- Association – 5.30pm

Tuesday 08 July

Feature Hand in by 12pm Friday 11 July

Journal Hand in by 12pm Friday 18 July

Summer Term Ends Guest Show

Friday 18 July

(c) Outline of Course and Module Sessions The programme is non-modular. It is composed of three units to be taken sequentially. The course is full-time only and lasts one year. Some of the component classes are term specific and others run continuously across the whole programme. Each unit will carry 60 credits at „M‟ level. The result for the first two units shall be pass or fail. The result for the third unit shall be pass with distinction, pass or fail. The corresponding awards will be Post-graduate Certificate (Unit 1 passed), Post-graduate Diploma (Units 1-2 passed) and MA Screenwriting (Units 1-3 passed).

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Unit 1: The Screenwriter‟s Craft

Hours

Formal lectures 210

Work in groups 100

Project work in groups 180

Private work 110

Total 600

Unit 2: The Screenwriter‟s Practice

Hours

Formal lectures 140

Work in groups 90

Project work in groups 210

Private work 160

Total 600

Unit 3: Writing the Feature Film

Hours

Formal lectures 120

Work in groups 40

Project work in groups 150

Private work 290

Total 600

8. Screenplay projects and journals Formal requirements for your work on required Screenplays and the Work and Research Journal are set out in detail in the unit specifications at the back of the handbook.

(a) Supervision Arrangements Your Feature tutor is responsible for supervising your film project for the term, and your Personal tutor will oversee your journal.

(b) Submission You must complete your written assignments within the scheduled dates in the term. Journals must be submitted on the published hand-in dates. If you do not submit your work by the set dates you will receive a „Fail / Resubmit‟ result for the unit.

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9. Marking and Assessment

(a) Marking and grades Degrees are awarded according to the marks you are given in the Units. In each Unit you are required to pass both the Film component and the Work and Research Journal component. The Film component is marked Pass/Fail in Unit One and Unit Two; in Unit Three the Film component is marked Distinction/Pass Fail. A Distinction in this component will result in the award of Masters degree with Distinction. The Work and Research Journal is marked Merit/Pass/Fail in all three Units. The detailed requirements for assessment on each module are specified in the unit specifications (handbook pages 29, 36, 41), together with indicative assessment criteria associated with different levels of performance and results. Further information regarding the Regulations for Postgraduate assessment can be found in Section B3.2 of the Academic Regulations in the Student Handbook (see http://www.londonmet.ac.uk/student-handbook/ or http://www.londonmet.ac.uk/academic-regulations/

The Postgraduate Registries are responsible for providing confirmed marks/grades to all students who have completed the required assessment components. At the end of each Unit module results and awards are confirmed by Postgraduate Assessment Boards (Subject Standards Boards and Awards Boards). Assessment Boards uphold the academic standards of your course and ensure that each student is treated fairly and equally through the assessment process. External Examiners are academic staff from other universities who consider a sample of students‟ work, ensure the fairness of the marking standards and attend the Subject Standard Boards and/or Award Boards.

(b) In case of a fail In the case of a fail in either or both components of a Unit a student is entitled to one reassessment only in the failed component or components. In a case of a fail in the Work and Research Journal the student may rewrite. In a case of a fail in the film component of the Unit, academic staff will specify the appropriate means of reassessing your work. This could mean producing new material, a reworking of existing materials, a written re-evaluation of the project or submission of documentation.

(c) Your rights concerning Assessment The assessment regulations are held on the University website at http://www.londonmet/student-handbook/regulations/. The School will provide appropriate and timely publication of coursework submission dates and publish module and award results within the agreed timeframe.

(d) Assessment Board Decisions There are only two grounds on which students may appeal against the outcome of an assessment board decision. These are specific and an appeal may not be made in respect of an academic

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judgement. The University operates a strict 10 working day deadline for submission of appeals, following the publication of the result(s) concerned. Prior to submitting an Appeal you should familiarise yourself with the procedures for the submission of Appeals, which can be found at: www.londonmet.ac.uk/appeals

The academic appeal regulations are in the Student Handbook at www.londonmet.ac.uk/student-handbook/. Read them carefully. If you think you are entitled to make a claim, follow the procedure there. The necessary form is available from the Postgraduate Registry or the Postgraduate Centre.

(e) Your responsibilities concerning assessment You have a responsibility to ensure that all assessed work is completed to the set published deadline. You also have a responsibility to ensure that all work submitted is your own and that it is appropriately referenced. The University does not tolerate cheating of any kind. You should familiarise yourself with the regulations. (See Section C3, Regulations governing allegations of Academic Misconduct on the part of a student, at www.londonmet.ac.uk/student-handbook/)

(f) Handing in work All written work, including Work and Research Journals, should be submitted online via Moodle by 5.00pm at the latest on the published hand-in date. Further information on handing in work is available on Moodle. Students must ensure that they receive and retain email confirmation that their work has been successfully uploaded.

(g) Mitigating circumstances Students who are unable to attend an examination or the deadline for submission of course work must contact their Course Leader on or before the date of the exam. You will need to complete a form providing details and supporting evidence of the particular circumstances that affected your studies which if accepted, will result in an opportunity to redo the exam or submit course work without penalty. Students who do not submit assessment and do not notify the Course Leader of the reasons for this in advance will not be eligible for reassessment and may be required to leave the course. Forms, which also detail the criteria for judging claims, can be obtained from the Administration. Specific deadlines for submission of mitigating circumstances forms are published on the Postgraduate Registry website. See www.londonmet.ac.uk/mitigation for further information. Completed forms should be taken to Administration. If you think you are likely to need to make a claim under these procedures you are advised to contact your Course Leader in advance of the due date. Prior to submitting a claim for Mitigating Circumstances you are strongly advised to familiarise yourself with the Mitigating Circumstances Criteria (Section 10.3 of the Academic Regulations), which can be found at: www.londonmet.ac.uk/academic-regulations

(h) Intermission of studies Intermission of studies is only possible in exceptional cases and you will need to provide evidence of your circumstances which confirms that it is not possible for you to continue on your course. Intermission can have as financial implications (where applicable) and on your status in the UK if

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you are an international student. During an approved intermission of studies you will not be eligible to sit examinations, submit coursework or undertake any other form of assessment. The maximum period of intermission permitted is one year and the maximum period in which to qualify for a degree (including any agreed intermission) is eight years. If you intermit without prior approval you will be deemed to have withdrawn from your course and you may not be allowed to recommence at a later date. If you think that you need to intermit please contact your Course Leader, who will advise you of the options available to you.

(i) Withdraw from Module Normally once you have a registered programme for the academic year it cannot be changed. You have until the end of week 2 to withdraw from a module without academic or financial penalty. After this point you are expected to complete every module registered against your record and to pay any fee due for your registered programme. For further information and advice please contact course leader Withdrawal from a module is not permitted after week 2; students with unforeseen circumstances, which prevent completion of an assessment or a module, should submit a mitigating circumstances claim.

(j) Publication of Results When results are published you will see clearly whether you have passed your module(s) or if you have failed some or all the work in which case you will need to take the appropriate reassessment(s). It is your responsibility to ensure that any reassessments are completed at the appropriate time. If in doubt always consult your Course Leader or Personal Tutor.

10. Study Resources and Facilities

(a) Libraries The two campuses have extensive library resources, which give London Metropolitan students direct access to one of the largest university collections in the capital. North Campus At the North Campus Library services for the Business subject areas, the Faculties of Humanities, Arts, Languages and Education; Health and Human Sciences; Computing, Architecture and Spatial Design, and the Polymer Centre are provided in the Holloway Road Learning Centre. Those for the Faculties of Applied Social Sciences, and Law, Governance and International Relations are in Ladbroke House Library. There is also some provision for the Department of Psychology in Ladbroke House Library. Full information on the range of services and resources can be found on the library website at http://www.londonmet.ac.uk/libraries Special Collections In addition to the main stock, the university has a number of special collections, two of which are of national importance. The City Campus is home to the Women‟s Library a specialist research library on the history and role of women in society. The North Campus Trades Union Congress Library Collections hold approximately 200,000 items covering the trade union

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movement and working conditions and industrial relations. In addition the European Documentation Centre, currently at the North Campus, receives publications issued by the European Commission, the European Parliament and some other official European Union bodies. Catalogues The campus library catalogue is web-based and can be accessed from dedicated terminals within the libraries or from any workstation with Web access inside or outside the University. All types of stock are listed. Students can use the catalogue to check their loans and renew books and to reserve books that are on loan. Postgraduate students can borrow up to12 books and 4 audio or videotapes. Full, regularly updated listings of the services to which the University subscribes are available on the library services Web pages at: http://www.londonmet.ac.uk/services/sas/library-services/elecsource.cfm Most resources are now accessible both from within the University or remotely. They include both abstracting and indexing services, e.g. Historical Abstracts, and full-text, e.g. newspapers. There is a database of journals to which we have access electronically, searchable by title or subject. The subject pages on the library website list the electronic resources for that subject area, with descriptions and links. Photocopying and Binding All libraries offer self-service photocopying, using cards available from dispensers. Enlarging/reducing facilities are available. Binding and laminating materials are available for purchase and binding equipment is provided for student use. Access to other libraries London Metropolitan University is a member of the UK Libraries Plus group of libraries. The scheme has over 100 libraries in higher education institutions. Students can be provided with a card that gives them access to any of the member libraries. Full details and listings of libraries in the scheme are at http://www.uklibrariesplus.ac.uk/. For material that is not easily accessible we offer a full interlibrary loans service. The service is free, except for a 6p per sheet charge for photocopies which are retained by the student. Postgraduate students have an allowance of 25 requests per year. BFI National Library LFS students can use the British Film Institute National Library, a few minutes walk from the School. Check at http://www.bfi.org.uk/filmtvinfo/library/ . Cards for free entry are available from our library, but students may find it worth their while to join on the cheap student rate. LFS Library This is primarily a DVD collection whilst we do have a number of Scripts and Reference works available to borrow from the MA Screenwriting script library.

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(b) Computers and IT Facilities All students have access to ICT provision at all University sites, though many students will choose to focus their IT activities at the site where their course is based.

(c) Useful Links and Resources Quick access to a wide range of online study resources is available via the library pages on the university website: www.londonmet.ac.uk/services/sas/library-services. There are dictionaries, encyclopaedias, newspapers etc. accessed via a “reference resources” link. An “Index to Theses” link is available, together with a comprehensive A to Z of academic “electronic databases”. A separate link is provided to the large stock of “electronic journals” to which the library subscribes. To take full advantage of this huge resource, students are advised to consult library staff (see section 11(a) Libraries). (d) LFS Virtual Learning Environment – Moodle LFS deploy Moodle as the e-platform to deliver the Academic Handbooks, Regulations and Policies to students. The LFS Moodle site is the repository for learning resources for all study programmes. It is the submission site for applicable coursework and notification of relevant grades are posted on the site.

The information on LFS Moodle is definite. It is more current than a printed version of the LFS Academic Handbook and replaces the previous LFS Student–Resource-site and all Google sites.

Individual Moodle pages cover the academic curriculum, regulations, submission requirements, taught classes and exercises briefs together with the related resources, revision or instruction on different subject matter, the facility for individual or group, staff to student, student to staff communication and the learning opportunities of their particular programme.

The structure of LFS Moodle site reflects the various LFS programmes and their class structures. The LFS Moodle pages are designed to support and complement the delivery and quality of these face-to-face lectures, consultations and practical classes. For all LFS students, this e-learning platform does not replace their attendance in a class.

(e) London Metropolitan University ID Card (EVISION Account) You use the same account to access all University IT systems. Your account name is printed at the top of on the ID card that you receive at enrolment and is 7 characters in length (e.g. ABC1234). Your password will be set initially to be your date of birth (DDMMYYYY) so you should change to something secure when you first log in. You can change your password and set details for resetting your password at: http://my.londonmet.ac.uk

(f) BFI Southbank Cinema Students with id have free entry to the BFI Southbank Cinema when there are empty seats.

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11. Regulations

(a) University Academic Regulations Full regulations are in the Student Handbook and at http://www.londonmet.ac.uk/academic-regulations/ These regulations apply except for agreed variations for the London Film School MA Screenwriting course, as described in this handbook and the Module Specifications documents.

(b) London Film School Regulations

These are available on Moodle. www.lfs-students.org.uk

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12. Directory of modules for the course Course MA Filmmaking

Module Directory Award

Module Code

Module Title

Pre-requisites (if any)

Module Summary

Assessment Requirements

Credit Points

Post-Graduate Certificate

Unit One HFP001N

The Screenwriters‟ Craft

None

This Unit provides an introductory and theoretical framework for the practical work, with an emphasis on the writer‟s personal development through writing exercises, collaborations with filmmakers, two short screenplays, a feature film portfolio and classes on dramaturgy and film history. The submission of a Work and Research Journal at the end of each unit provides a transparent account of the writer‟s creative development.

Film work Work and research Journal

60

Post -Graduate Diploma

Unit Two HFP002N

The Screenwriter‟s Practice

HFP001N

The main focus of this Unit is the development of a First Draft Feature Screenplay through small group feedback and one to one tuition. This unit continues to place screenwriting within the context of craft skills, film style and the filmmaking process. It also introduces the economic and industrial context for film and television production and the role of the writer in that process.

Film work Work and research Journal

60

MA Screenwriting

Unit Three HFP003N

Writing the Feature Film

HFP003N

The principle focus of this unit is on the key practical work of the Master‟s programme – the writing and development of a Feature Film project through two further drafts – supported by a professional writing mentor. Additional written work includes an idea for a TV Series and a Slate of five further film and television projects. Visiting practitioners continue to provide an industry context and preparation for post-course career development.

Film work Work and research Journal

60

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13. Course Specification 1. Name of course and highest award MA Screenwriting 2. Scheme Postgraduate 3. Total Credit for the course 180 4. Possible Interim awards (credit ratings) Post-Graduate Diploma

Post-Graduate Certificate 5. Awarding/validating institution/body London Metropolitan University 6. Teaching Institution London Film School 7. Course also accredited by None 8. Professional body exemptions/accreditation None 9. External subject benchmarks 10. UCAS code (undergraduate) 11. London Met course code 12. Route code 13. JACS code W600 14. Source of Funding 15. Approved to run from: September 2010 16. Mode of attendance Full-time 17. Expected duration of course (f/t, p/t, sandwich) One Year 18. Organised work experience/sandwich year/year abroad 19. Career Education, Information and Guidance 20. February admission (y/n) Admission in September 21. Teaching location (North; City; Both; Franchise) London Film School 22. Home academic department HALE 23. Course Leader Brian Dunnigan

24. Main educational aims of the course The aim of the course is to enable students who have already shown an aptitude for telling stories for the screen, either through undergraduate study or a portfolio of creative writing, to develop the art and craft of screenwriting to a high level of integrity and originality.

In addition the course aims to:

Encourage students to see their own and others‟ creative practice and skills within a critical framework informed by an understanding of historical, cultural, political, ethical and aesthetic issues

To develop a student‟s understanding of screenwriting and filmmaking as a collaborative process involving everyone from script editors, producers and directors to designers, composers, cinematographers, actors and editors

To help students develop a body of work demonstrating the skills necessary for employment in the audiovisual industries in the UK or their country of origin, at levels requiring capacity for creative initiative and personal organization.

25. Course learning outcomes Collectively, course learning outcomes contribute to the development of the graduate attributes of:

A1 Self awareness: to have the attribute of knowing oneself and be able to understand and clarify personal strengths and weaknesses through personal development planning; to be able to develop career management tools and represent one‟s own abilities with confidence and self esteem

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A2 Performance in a variety of idioms and contexts: to have the attribute of understanding the limits and applicability of the subject discipline and to be able to perform as a graduate in a variety of idioms and contexts by incorporating into personal, subject and professional practice, a fluent awareness of the subject and the wider picture, and to be able to communicate this effectively.

A3 Creative and ethical: to have the attribute of working through problems and making creative and purposeful change and adaptation with an awareness of ethical and moral codes and demonstrating integrity of conduct, including an awareness of, and respect for, cultural diversity.

Links with graduate attributes are referenced in the learning outcomes contained in each of the four subsections.

26. Knowledge and Understanding Learning outcomes

Students completing this course will show: 1. A clear understanding of the stages of writing from research and development of an

idea through revision of a screenplay to production draft 2. A clear knowledge and understanding of dramatic theory and the craft of screenwriting –

with specific emphasis on the feature film 3. A high level of critical awareness of the relation between their work and the

contemporary and historical culture of cinema 4. A good understanding of the collaborative nature of filmmaking 5. The ability to work effectively in situations requiring creative and strategic solutions to

the technical and/or aesthetic problems of screenwriting and filmmaking 6. A clearer understanding of their own creative vision, interests and subject matter

(A2, A3) Teaching/Learning Strategies and Methods These outcomes are addressed by

1. Lectures and film showings, ranging from 1890 to the works of directors, writers and technicians representing contemporary cinema, on original (35mm or digital) formats, supported by sessions using DVD to develop knowledge and conceptual frameworks.

2. Students further develop these by private reading from lists, attending recommended viewings outside the school.

3. Students discuss their own work in small groups or individual conferences, developing strategies in the light of the concepts and frameworks they have understood and evaluated.

Assessment Students‟ success in attaining the knowledge and understanding outcomes is assessed by

1. their Work and Research Journal which shows the developing influence over their own critical assessment of their work, of the concepts and strategies they have learned, as well as their understanding of the cultural and ethical frameworks implied.

2. their film work which requires and hence reflects their critical understanding of the strategies and technical possibilities (Outcomes 1 and 2) and also their grasp of how cultural and ethical imperatives influence practice (Outcome 3).

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27. Cognitive (thinking) skills Learning outcomes Successful students will show that they

1. Have developed the skills necessary to critically analyse and solve practical, aesthetic and creative problems in professional practice.

2. Are able to draw on stylistic and practical vocabularies of cinema, past and contemporary, and reshape them to their own creative and original use.

3. Can recognise and analyse scenes and structures in films of all kinds in appropriate frameworks that draw out their aesthetic, ethical and cultural significances

4. Can respond quickly, intelligently and creatively to the volatile conditions presented by filmmaking in a real world

(A1, A2, A3)

Teaching/Learning Strategies and Methods 1. Students‟ projects and hence the cognitive demands on them increase rapidly in

complexity and scope over the course. This work, presented as problem solving, is developed in the context of programs of small group and individual sessions in which, with staff, they present, criticize and defend their own and each others‟ solutions.

2. Large and small classes present students with standard industry scenes and structures, and also the many responses to them that film history and complex surface of contemporary world cinema generate, challenging them to see these as strategies in the light of different aesthetic and ethical priorities.

Assessment Students‟ success in developing these cognitive skills is assessed by:

the presence in their own work of solutions that have appropriately taken account of the complexity of the issues presented by the work and its cinematic and cultural context, and by the reach of their own skills.

How the Work and Research Journals show their capacity to recognize and resolve cinematic problems in their full reach and in the light of their own developing abilities.

28. Transferable skills, employability and professional practice Learning Outcomes On completing the course successfully students will be able to

1. initiate and develop projects successfully, including projects that express their own original intellectual, visual and dramatic ideas

2. work effectively in a group in such a way that their creativity enhances that of the other members

3. work effectively in challenging and unpredictable situations, such as those presented by professional film production

4. communicate their ideas, even under considerable stress, in a variety of different contexts and forms

5. assess and criticize ideas and practices, including their own, from a complex aesthetic, cultural and ethical base.

6. Understand, use and develop the knowledge and techniques they will require for their own creative work and/or for employers

(A1,A2,A3)

Teaching/Learning Strategies and Methods 1. Film exercises require that students, working in groups and individually, present, initiate

and develop their projects under a variety of constraints. This process is referred back continually to group or individual sessions with staff.

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2. Students record and critically assess their progress, and that of their groups, in their Work and Research Journals, which are regularly submitted for comment by tutors.

Assessment Success in the development of these skills is evidenced by the outcome of their film project work and by their own critical commentary in their Work and Research Journals.

29. Subject-specific practical skills Learning outcomes Students completing the programme will be able to demonstrate their systematic command over a range of interpretive, communicative and craft skills at an appropriate level: these cover research, planning and execution of professional outlines, treatments and screenplays as well as the analytical skills required of script editing and project development from idea to final draft. These skills will be at the service of the student‟s own creative vision and at a level enabling them to compete securely for employment in the film and television industries. (A2)

Teaching/Learning Strategies and Methods Teaching and learning are based on small group practical classes, workshops, written assignments in which students exercise their skills and have their work reviewed and discussed and record and reflect on their progress in their work and research journals

Assessment 1. Direct assessment of their skills is based on the outcome of their written assignments in

which each student‟s speciality or specialities can be isolated and individually assessed. 2. Students‟ critical reflections on their learning and personal progress are assessed from

their personal work and research journals.

30. Course structure diagram The course is non-modular, based on three units to be taken in succession. Level Title Code Attributes

PG Certificate Unit One The Screenwriter‟s Craft

A1, A2, A3

PG Diploma Unit Two The Screenwriter‟s Practice

A1, A2, A3

MA Unit Three Writing the Feature Film

A1, A2, A3

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31. Assessment Diagram

Units

Assessment PG Certificate Level PG Diploma Level MA Level

Weighting Submission week

Weighting Submission week

Weighting Submission week

Film work 50% Week 11 50% Week 11 50% Week 11

Work and Research Journal

50% Week 12 50% Week 12 50% Week 12

Notes Film work assessment is on the student‟s individual contribution to the project required for the unit. The Work and Research Journal is the student‟s critical journal of their work through the Unit. MA submission for film work and Work and Research Journal is in weeks eleven and twelve respectively of the third teaching term.

32. Entry requirements, inc APEL/AP(E)L Evidence of the following will be taken into account: A UK honours degree, or a European or other equivalent, Fluent English: Minimum TOEFL at Paper Grade: 550 or Computer Grade: 213 or Internet Based Grade: 79-80 Minimum IELTS with a score of 6 and no element below 5.5. Minimum Cambridge Proficiency Grade C Other evidence of spoken or written fluency. Experience and skills in film or related areas of a high enough standard, supported by evidence.

33. Credit for previous learning If you already hold a qualification (for example from another college) that may exempt you from part of your course, you may apply for Accreditation of Prior Certificated Learning (APCL). Similarly, if you have undertaken work, paid or voluntary, that has resulted in learning skills or knowledge equivalent to a module you will be studying you may apply for Accreditation of Prior Experiential Learning (APEL). Collectively these are known as Accreditation of Prior Learning (APL). It is important to be aware that any application for APL credit in respect of postgraduate studies must be based on prior learning or experience at a suitably advanced level. This means that it is not normally possible to accredit prior learning at undergraduate level, even if the content may appear similar. The University operates the European Credit Transfer System (ECTS), where 1 European credit (ECTS) is equivalent to 2 UK credits (CATS). Thus, each taught module of 20 credits is normally equivalent to 10 ECTS credits, and a full Masters of 180 UK credits is equivalent to 90 ECTS. If you wish to claim for APL please contact your Postgraduate Office or refer to the Index (Section 15) of this handbook for further information.

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34. Assessment of applicants The application details of all qualified applicants are examined. Points are allocated to the applicant on the basis of their experience, education, statement, references and portfolio. Where appropriate applicants are interviewed, in person or by phone, and the interview may result in an adjustment to their assigned points. At the end of the process applicants are selected using the points order.

35. Career opportunities Completing the course will enable students to compete successfully for work at high creative and professional levels in film, television and other related media internationally.

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Unit 1: The Screenwriters Craft Level M Leader Brian Dunnigan Home Academic department HAL Teaching Location Collaborative/Off site Teaching Semester Autumn Teaching Mode Day Type PROJ Credit rating 60 Summary This unit provides an introductory and theoretical framework for the practical work with an emphasis on the writer‟s personal development. It includes an overview of dramatic principles as applied to a distinctively cinematic approach to storytelling. It also encourages a critical evaluation of those principles in relation to the creative process and the development of original work for the screen. Aims

To stimulate creativity and encourage originality

To develop screenwriting skills in students

To develop an awareness of the principles of storytelling and dramaturgy behind those skills

To assist the student, place dramaturgy within an historical and international context and to encourage different approaches to screenwriting

To develop an awareness of the short film as a distinctive cinematic form

To clarify the relationship of script to screen

To encourage a critical ability in evaluating screenplays and films

To build a common creative and critical vocabulary to facilitate creative and productive collaboration with other screenwriters and directors, in the first instance, leading towards an understanding of how to communicate with others involved intimately in the process of translating written word to moving image

Objectives By the end of this module the student will have produced:

A work and research journal

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A short film screenplay

A feature film portfolio Learning Outcomes On successful completion of the module students are able to demonstrate that they have:

A good understanding of the creative process and the place of critique, feedback, rewriting and revision in that process

The ability to give and take criticism within a supportive group context

Developed an approach to their work which includes research, planning and outlining

A clear understanding of the contextual framework for the study and practice of screenwriting and its relationship to filmmaking

A knowledge of the variety of approaches to dramaturgy

The ability to conceive, develop and write a cinematic short film script

An understanding of the different approaches to adaptation

The ability to evaluate screenplays and films across a range of criteria including technical, aesthetic and commercial

The ability to write a screenplay that shows a clear understanding of narrative and dramatic principles

Syllabus

Creativity and Working Methods: the writer as source of material, writing exercises, originality, cognitive and affective knowledge, research, developing ideas, established screenwriters and how they approach their work. A variety of exercises drawing from a variety of sources, including but not limited to painting, sculpture, music, dance, improvisation, poetry, dreams.

Screen Stories: the storytelling impulse. How to tell stories: oral, myth, folk tales, family, personal, cultural, film narrative. Literature and film. Writing short stories. Adaptation. Lecture, seminar and written exercises.

Elements of Dramatic Writing: workshop and exercise based approach to film dramaturgy including theme and premise, dramatic universe, distinction between film and television writing, dramatic structure and characterisation, dialogue, writing styles and visualisation. Critique and historical context of dramatic theory. Alternative paradigms, multi-narratives and an overview of international approaches to screenwriting and filmmaking. Includes lecture/seminars, script and film analysis. Written exercises.

Film History and Analysis I: a series of lectures covering the early history of film to the masters of world cinema. Aesthetics; criticism; cinema and society; genres; directors‟ strategies for realising scripts. Students from both the Screenwriting and Filmmaking MA. Includes some evening screenings.

Writing the Short Film: lecture/seminar and tutorials. A practical and analytical exploration of the short as a distinctive genre. Includes one-to-one and peer group script development. By the end of the first term students will have written a short screenplay that may be produced by MA Filmmaking students.

Feature Film Project 1: Script development including research, synopsis and treatment, step outline and scene-by-scene breakdown, critique and rewrites. Ideas and outline for a feature film screenplay.

Assessment Assessment is based on criteria defined in learning outcomes. Assessment for this module is by consideration of:

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A work and research journal

A ten-minute short screenplay

A feature film portfolio

In order to pass the unit students will have to pass all of the above. Assessment criteria A student who passes this unit will show a good understanding of how to plan and prepare for the writing of a first draft feature screenplay. They will also show a good understanding of the principles of narrative and dramatic writing for the screen, which will include reference to the following aspects:

Premise: The central idea on which the project rests.

Audience: The writer's awareness of a potential audience for the project; how well s/he has designed the project for the appropriate type and scale of production.

Presentation: Layout, spelling, clarity of the script on the page.

Story World: How consistent is the internal logic of the project; if it is realistic, how believable its setting.

Character: How well the writer has understood the characters, and how well they are tailored to the needs of the specific story world.

Narrative and Dramatic Structure: The energy, conviction and shape of the narrative as described.

Theme and Tone: How the project's controlling idea is expressed through the storyline, and through the originality of the writer's voice.

Visual Storytelling: The degree to which the project is constructed towards the primarily visual medium of film.

Scene Writing: The structure, compression and visual imagination of the sample scenes.

A pass means that the writer demonstrates an understanding of and ability to conceive:

a dramatic premise that expresses a clear theme

a credible fictional world that utilises details of temporal and physical setting, mood and style to engage an audience

a screen story that is imaginative, personal yet universal, and avoids stereotype and cliché

a screenplay that is clear and concise in presentation and that utilises interesting descriptive detail of character, setting and action to engage a reader and create the idea and image flow of a distinctively cinematic narrative

well-rounded and clearly motivated characters who can develop, change and interact in a credible way that engenders audience recognition and engagement

dialogue that is credible and consistent with the established characters and story world and that is utilised to enhance subtext, tone and characterisation

well-constructed scenes with focus, dramatic shape and details of mood, characterisation, theme and imagery as well as narrative development

a dramatic structure that includes an understanding of set-up, development and resolution, as well as narrative techniques of suspense and surprise, planting and pay-off, discovery and reversal, crisis and climax

a screenplay with a strong visual structure in the details of setting, characterisation and action, as well as the imaginative use of imagery to create mood, atmosphere and metaphorical meaning

a screenplay aimed at a specific market and audience

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A student who fails the unit will have shown two or more of the following:

a failure to understand three or more of the basic principles of narrative and dramatic writing for the screen as outlined above

a lack of understanding in the specifics of writing a short film screenplay

an inability to conceive, develop and outline a story for a feature film project

an inability to reflect critically on their work and that of their peers

a disregard for the collaborative process

consistent failure to provide critical, creative and constructive feedback in seminars and workshops

repeatedly missing interim and final deadlines for assessed work and due dates for other assignments

a series of unexcused absences from classes

Bibliography

Creativity and Storytelling Bernare, S. Documentary Storytelling for Film and Videomakers. Focal Press, 2003. Bettleheim, B. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. London. Penguin, 1985. Biro, Y. & Ripeau, M. To Dress a Nude: Exercises in Imagination. Dubuque: Kendall/Hunt, 1998. Bradbury, R. Zen in the Art of Writing. NY: Bantam, 1990. Calvino, I. Six Memos for the Next Millennium. Vintage, 1996. Dunnigan, B. Storytelling and Film: Folk Tales, Myth and Happy Endings. POV, Dec. 2004. Hills, R. Writing in General and the Short Story in Particular. New York: Mariner Books, 2000. James, H. The Art of the Novel. NY: Scribners, 1932. Johnson, M. New Scriptwriter’s Journal. Focal Press, 2000. Johnstone, K. Impro for Storytellers. Faber and Faber. 2001. Kearney, R. On Stories. London: Routledge, 2001. Koestler, A. The Act of Creation. NY. Macmillan, 1964. Lawson, JH. Film: The Creative Process. NY. Hill and Wang, 1964. Lucy, P. Story Sense. New York: McGraw-Hill. 1996. May, R. The Courage to Create. NY: Bantam Books, 1990. Moss, S. (ed.) The World’s Shortest Stories. London: Running Press, 1998. Rabiger, M. Developing Story Ideas. Focal Press, 2001. Seger, L. Making a Good Writer great: a Creativity Workbook for Screenwriters. Los Angeles: Silman-James Press, 1999. Singleton, J. The Creative Writing Workbook. NY: Palgrave, 2001. Singleton, J & Luckhurst, M. The Creative Writing Handbook: Techniques for New Writers. London: Macmillan, 1996. Twain, M. How to Tell a Story and Other Essays. New York: OUP, 1996. Zipes, J. Creative Storytelling. Routledge, 1995.

Short Stories Auster, P. (ed) True Tales of American Life. London: Faber and Faber, 2001 Boccaccio, G. The Decameron. London: Penguin, 2003 Carver, R. Short Cuts. London: the Harvill Press, 1993. Chekhov, A. The Lady with the Little Dog and Other Stories. London: Penguin Classics, 2002. Grimm, J & W. Selected Tales. London: Penguin, 1982. Joyce, J. The Dubliners. London: Penguin, 1989. O'Connor. F. Writing Short Stories: Mystery and Manners. NY: Farrar, Straus & Giroux, 1969.

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Ovid. Metamorphosis. London: Penguin Classics, 1992.

Narrative Theory Aristotle. Poetics. London: Penguin, 1988. Bordwell, D & Thompson. Film Art: an Introduction. Knopf, 1986. Bordwell, D. Narration in the Fiction Film. London: Methuen, 1985. Forster, E.M. Aspects of the Novel. Penguin, 1963. Chatman, S. Story and Discourse: Narrative Structure in Fiction and Film. Ithica. Cornell University Press, 1978. Kermode, F. The Sense of Ending. London: OUP, 1966. Lodge, D. The Art of Fiction. Penguin, 1992. Prince, G. A Grammar of Stories. Paris: Mouton, 1973. Scholes, R. & Kellog, R. The Nature of Narrative. Oxford: OUP, 1966. Turner, G. Film as Social Practice. London: Routledge, 1993. Screenwriting Baker, G P. Dramatic Technique. Bicat, T. & Macnabb, T. Creative Screenwriting: A Practical Guide. The Crowood Press, 2002. Brady, J. The Craft of the Screenwriter: Interviews with Six Celebrated Screenwriters. NY: Simon and Schuster, 1982. Carriere, JC. Raconter une Histoire. Paris: FEMIS, 1993. Chion, M. Ecrire un Scenario. Paris: Cahiers du Cinema, 1985. Dancyger, K & Rush, J. Alternative Scriptwriting: Writing Beyond the Rules. Focal Press, 2000. Davis, R. Developing Characters for Scriptwriting. London: A&C Black, 2001. Dethridge, L. Writing Your Screenplay. Sydney. Allen and Unwin, 2003 EgriI, L. The Art of Dramatic Writing. NY; Simon and Schuster, 1960. Elbert, L. Why We Write: Personal Statements of 25 Top Screenwriters. Silman-James. 2000. Field, S. Screenplay. NY: Dell, 1984. Frehsham, R. Teach Yourself Screenwriting. Hodder, 1996. Froug, W. Zen and the Art of Screenwriting: Insights and Interviews. Silman-James. 2000. Froug, W. The Screenwriter looks at the Screenwriter. NY: Silman-James, 2000. Gulino, P. Screenwriting: the Sequence Approach. London: Continuum, 2004. Halperin, M. Writing Great Characters: The Psychology of Character Development in Screenplays. Los Angeles: Lone Eagle Publishing. 1996. Hunter. E. Me and Hitch. Faber, 1997. McGilligan, P. ed. Backstory 3. Interviews with Screenwriters of the 1960's. UCP. 1997. McKee, R. Story: substance, structure, style and the principles of screenwriting. Methuen, 1999. Portnoy, K. Screen Adaptation: A Scriptwriting Handbook. (2nd Edition). Focal Press, 2000.

Raphael, F. Eyes Wide Open. Orion Media, 1999. Seger, L. The Art of Adaptation. NY. Henry Holt, 1992. Stanislavski, C. Building a Character. NY: Theatre Books, 1949 Swain, DV. & Swain JR. Creating Characters. Cincinnati: Writers Digest Books, 1990. Short Screenplay Texts Beariristo, Ric. The Tyranny of Story: Audience Expectations and the Short Screenplay. Vancouver: Vancouver Film School, 1998 Cooper, P & Dancyger, K. Writing the Short Film. Boston: Focal Press, 1994. Cowgill, L. Writing Short Film. Lone Eagle, 1997. Eisenstein, S. The Short Film Scenario. Seagull Books, 1984. Johnson, Claudia H. Crafting Short Screenplays That Connect. Boston: Focal Press, 2000.

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Lewis, I. How to Make Great Short Feature Films. Focal Press, 2003. Levy, E. Making a Winning Short: How to Write, Edit and Produce a Short Film. New York: Henry Holt, 1994 Phillips, W. Writing Short Scripts. NY: Syracuse U.P., 1991. Raskin, R. The Art of the Short Fiction Film: A Shot by Shot Study of Nine Modern Classics. London: McFarland & company, 2003.

Short Film Production Irving, D. & Rea, P. Producing and Directing the Short Film and Video. NY: Focal Press, 2000 Elsey, E. & Kelly, A. In Short: A Guide to Short Filmmaking in the Digital Age. BFI Publications, 2002

Short Films on Video/DVD Jane Campion: Three Short Films. Connoisseur Video

Three Shorts by Hal Hartley. Tartan Video, 1989 The Short Films of David Lynch. DVD 2002 Big Stories Small Flashes 9 Short Films by 9 New Directors Cinema 16 British Short Films. 2003 Cinema 16 European Short Films. 2004

Select Filmography Battleship Potemkin Sergei Eisenstein Nosferatu Friedrich Murnau Stagecoach John Ford/Dudley Nichols Bringing Up Baby Howard Hawks Matter of Life and Death Powell/Pressburger The Third Man Carol Reed/Graham Greene

Bicycle Thieves Vittorio de Sica Germany Year Zero Roberto Rossellini Hiroshima Mon Amour Alain Resnais Notorious Alfred Hitchcock/Ben Hecht The Silence Ingmar Bergman The Apartment Billy Wilder Touch of Evil Orson Welles A Bout de Souffle J-L Godard Love in the Afternoon Eric Rohmer Ashes and Diamonds Andrzej Wajda The Fireman’s Ball Milos Foreman Belle du Jour Luis Bunuel/Jean-Claude Carriere Faces John Cassavetes Mean Streets Martin Scorcese Kes Ken Loach Amarcord Federico Fellini Sans Soleil Chris Marker Annie Hall Woody Allen Get Carter Mike Hodges Chinatown Roman Polanski/Robert Towne L‟Argent Robert Bresson Witness Peter Weir Alien Ridley Scott Blue Velvet David Lynch

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Decalogue Kristov Kieslowski/ Barton Fink Joel and Ethan Cohen Life is Sweet Mike Leigh Raise the Red Lantern Zhang Yimou Pulp Fiction Quentin Tarantino Chung King Express Wong Kar Wai Close-Up Abbas Kiarostami Simple Men Hal Hartley Leningrad Cowboys Aki Kaurismaki Trainspotting Danny Boyle/John Hodge Ratcatcher Lyn Ramsay Amores Perros Guillermo Arriaga Momento Paul Thomas Anderson Festen Thomas Vinterberg/ Adaptation Spike Jones/Charlie Kaufman

Lilja 4-ever Lukas Moodysson The Return Andrey Zvyagintsev

Annual Reference Books The Filmmakers’ Yearbook. A+C Black

BFI Film and Television Handbook. BFI Publishing A Career Handbook for TV, Radio, Film, Video and Interactive Media. A+C Black Contacts. Spotlight The Hollywood Creative Directory. Lone Eagle Publishing Writers and Artists Year Book. A+C Black The Writers Handbook. Macmillan

Specialist Bookshops

The Cinema Store Upper St. Martins Lane

Grant and Cutler 55-57 Great Marlborough Street

Off Stage Bookshop 37 Chalk Farm Road

The Screenwriters Store 157-168 Blackfriars Road, SE1 8EZ Cinema Bookshop at the BFI Southbank

Library BFI National Library 21 Stephen Street London W1T 1LN

36

Title Unit 2: The Screenwriter’s Practice

Level M

Leader Brian Dunnigan

Home Academic department HAL

Teaching Location Collaborative/Off site

Teaching Semester Spring

Teaching Mode Day

Type PROJ

Credit rating 60

Prerequisites and co-requisites Pass Unit 1 Summary This unit places screenwriting in the context of film history and the filmmaking process. It also illuminates the economic and industrial context for film production, distribution and exhibition and the role of the writer and the screenplay within that context. Group work and exercises will focus on visualisation and cinema specific aspects of screenwriting and includes work with actors, directors and editors. The main focus of the practical work is the writing of the first draft of an original feature film screenplay.

Aims

To encourage a cinematic approach to screenwriting

To provide the student with a social, political, moral and ethical context for their writing

To give students practical experience of screenwriting as a collaborative process

To give the writer a practical understanding of the director‟s role and how a director works with a writer

To deepen each student‟s understanding of the screenplay as the creative and technical template for performance and visualisation

To familiarise students with the international film industry and film development, its similarities and differences from country to country

37

To help the student establish a creative mentoring relationship with a practicing professional

Objectives

By the end of this module the student will have produced:

A work and research journal

A first draft for an original feature fiction film Learning Outcomes On completion of the module students should have:

A good academic and practical knowledge of the history and theory of film

An understanding of the process from script to screen

The ability to work with others in a team

A good understanding of the role of the screenwriter in the production process

A good knowledge of existing opportunities in the film and TV industries

Be acquainted with matters relating to copyright and contracts

Syllabus

Film History and Analysis II: continuing a series of lectures on the history of cinema and filmic narrative. Directing and scriptwriting strategies. Students from both the Screenwriting and Filmmaking MA. Includes some evening screenings.

Contemporary Cinema: classes on current world cinema, including visiting filmmakers and screenwriters from the UK and abroad. Debate, discussion, professional contacts.

The Writer as Director: visualisation; understanding the director‟s perspective; scene breakdown and shooting script; writer/director relationship; the actor‟s craft as applied to the writer; editing (both in development and post-production) and the writer. Seminars and practical exercises including shooting and editing a scene and working on student films.

Cinema Specific Writing: theatre and literature, adaptation, cinematic narrative, visualisation, sound and image, screenplay language, the relationship between screenplay and directed film. Rewriting and collaboration. Exercises and film analysis.

The Business of Film I: the industry context for writers including commissioning, development finance, writer‟s contracts. The development process from outline to final draft. Lecture/Seminars, including sessions with visiting practitioners. Includes some evening and weekend sessions.

Feature Film Project II: the practice of writing and developing a rough first draft (a minimum of 70 typed pages, following accepted industry format). Taking notes and applying them through revision. Providing feedback on other projects in development. Seminar, tutorials.

38

Assessment Assessment is based on criteria defined in learning outcomes. Assessment for this module is by consideration of:

A work and research journal

A first draft screenplay for an original feature fiction film Assessment criteria A student who passes this unit will show a good understanding of the principles of narrative and dramatic writing for the screen which includes reference to the following aspects:

Premise: The central idea on which the project rests.

Audience: The writer's awareness of a potential audience for the project; how well s/he has designed the project for the appropriate type and scale of production.

Presentation: Layout, spelling, clarity of the script on the page.

Story World: How consistent is the internal logic of the project; if it is realistic, how believable its setting.

Character: How well the writer has understood the characters, and how well they are tailored to the needs of the specific story world.

Narrative and Dramatic Structure: The energy, conviction and shape of the narrative as described.

Theme and Tone: How the project's controlling idea is expressed through the storyline, and through the originality of the writer's voice.

Visual Storytelling: The degree to which the project is constructed towards the primarily visual medium of film.

Scene Writing: The structure, compression and visual imagination of the sample scenes.

A pass means that the writer demonstrates an understanding of and ability to conceive:

a dramatic premise that expresses a clear theme.

a credible fictional world that utilises details of temporal and physical setting, mood and style to engage an audience

a screen story that is imaginative, personal yet universal, and avoids stereotype and cliché

a screenplay that is clear and concise in presentation and that utilises interesting descriptive detail of character, setting and action to engage a reader and create the idea and image flow of a distinctively cinematic narrative

well-rounded and clearly motivated characters who can develop, change and interact in a credible way that engenders audience recognition and engagement

dialogue that is credible and consistent with the established characters and story world and that is utilised to enhance subtext, tone and characterisation

well-constructed scenes with focus, dramatic shape and details of mood, characterisation, theme and imagery as well as narrative development

a dramatic structure that includes an understanding of set-up, development and resolution, as well as narrative techniques of suspense and surprise, planting and pay-off, discovery and reversal, crisis and climax

a screenplay with a strong visual structure in the details of setting, characterisation and action as well as the imaginative use of imagery to create mood, atmosphere and metaphorical meaning

a screenplay aimed at a specific market and audience

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A student who fails the unit will have shown two or more of the following:

a failure to understand three or more of the basic principles of narrative and dramatic writing for the screen as outlined above

an inability to conceive, develop and deliver the first draft of an original feature film screenplay

an inability to reflect critically on their work and that of their peers

a disregard for the collaborative process

a consistent failure to provide critical, creative and constructive feedback in seminars and workshops

repeatedly missing interim and final deadlines for assessed work and due dates for other assignments

a series of unexcused absences from classes

Bibliography Almendros, N. Man with a Camera. New York: Simon and Schuster, 1985. Argentini, P. Elements of Style. Lone Eagle, 1998. Armes, R. Action and Image. Manchester: Manchester U.P. 1994. Arijon, D. Grammar of Film Language. Silman-James, 2000. Arnheim, R. Art and Visual Perception. Berkeley: UCP, 1974. Bach, S. Final Cut: Dreams and Disaster in the Making of Heaven’s Gate. London: Cape, 1985. Aronson, L. Screenwriting Updated: New and Conventional Ways of Writing for the Screen. LA. Silman-James. 2001 Bazin, A. What is Cinema? 2 vols. Berkeley: University of California Press, 1972 Berman, R. Fade In: the Screenwriting Process. Focal Press. 1992. Biskind, P. Easy Riders, Raging Bulls. London: Bloomsbury, 1998. Block, B. The Visual Story: Seeing the Structure of Film, TV and New Media. Focal Press, 2001. Boorstin, J. Making Movies Work: Thinking Like a Filmmaker. Beverley Hills: Silman-James, 2000. Bordwell, D. Narration in the Fiction Film. London: Methuen, 1985. Bordwell, D. Staiger, G. & Thompson, K. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985. Breskin, D. Inner Views: Filmmakers in Conversation. Da Capo Press, 1997. Bresson, R. Notes on Cinematography. London: Quartet Books, 1986. Bunuel, L. My Last Breath. London: Flamingo, 1986. Carriere, J-C. The Secret Language of Film. London: Faber, 1995. Crittenden, R. Film and Video Editing. London: Blueprint, 1995. Donaldson, M. Clearance and Copyright: Everything the Independent Filmmaker Needs to Know. Silman-James, 2000. Eisenstein, S. Film Form. New York: Harcourt Brace, 1969. Eisenstein, S. Film Sense. New York: Harcourt Brace, 1969. Falsetto, M. Personal Visions: Conversations with Contemporary Film Directors. Silman-James Press, 2000. Fellini, F. Fellini on Fellini. De Capo Press, 1996. Foss, B. Filmmaking: Narrative and Structural Techniques. Silman-James, 2000. Froug, W. The New Screenwriter Looks at the New Screenwriter. Silman-James, 2000. Joliffe, G & Jones, C. The Guerrilla Film Makers Handbook and Producer’s Toolkit (2nd ed). Continuum, 2000. Godard, J-L. Godard on Godard. De Capo Press, 1996. Hjort, M & Bondebjerg. The Danish Directors. London: Intellect, 2004.

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Hillier, J. (ed) Cahiers du Cinema: The 1950’s. Cambridge, Mass.: Harvard University Press. Hillier, J. (ed) Cahiers du Cinema: The 1960’s. Cambridge, Mass.: Harvard University Press. Hiltunen, A. Aristotle in Hollywood: Visual Stories that Work. London: Intellect, 2004. Houghton, B. What a Producer Does: The Art of Moviemaking (Not the Business). Silman-James, 2000. Katz, Steven D. Film Directing Shot by Shot: Visualising From Concept to Screen. Michael Wise Productions. Focal Press, 1991. Kieslowski, K. Kieslowski on Kieslowski (1993) Faber Litwak, M. Contracts for the Film and Television Industry (2nd Edition). Silman-James, 2000. Lumet, S. Making Movies. London: Bloomsbury, 1996. Mamet, D. On Directing. Faber and Faber, 1989. Mascelli, J. The Five C’s of Cinematography: Motion Picture Filming Techniques. Silman-James, 2000. Mehring, M. The Screenplay: A Blend of Film Form and Content. Boston: Focal Press, 1990. Murch, W. In the Blink of an Eye: A Perspective on Film Editing. Silman-James, 2000. Ondaatje, M. The Conversations: Walter Murch and the Art of Editing Film. Bloomsbury Publishing, 2003. Petrie, D. Inside Stories: Diaries of British Filmmakers at Work. London: BFI Publications, 1997 Potter, C. Image, Sound and Story. Weidenfield, 1991. Pudovkin, V I. Film Technique and Film Acting. New York: Grove, 1960. Rabiger, M. Directing: Film Techniques and Aesthetics (3rd Edition). London: Focal Press, 2003 Raphael, F. Eyes Wide Open. Orion Media, 1999. Salt, B. Film Style and Technology: History and Analysis. 2nd Edition. London, Starwood, 1992 Seger, L. & Whetmore, EJ. From Script to Screen: the collaborative art of filmmaking. NY: H Holt, 1994. Sayles, J. Thinking in Pictures. Boston: Houghton Mifflin, 1987. Schanzer, K. & Wright, TL. American Screenwriters: An Insiders Look at the Art, Craft and Business of Writing Movies. NY: Avon, 1993. Silver, A & Ursini, J. Roger Corman: Metaphysics on a Shoestring. Silman-James, 2000. Stanislavski, C. An Actor Prepares. London; Methuen, 1980. Tarkovsky, A. Sculpting in Time. University of Texas, 1994. Truffaut, F. Hitchcock. London: Paladin, 1986. Walter, E. The Technique of the Film Cutting Room. London, Focal Press. 1973. Weston, J. The Film Director’s Intuition: Script Analysis and Rehearsal Techniques. Focal Press. 2003

Industry Periodicals

Variety Screen International Screen Finance Broadcast Sight and Sound Filmmaker Black Filmmaker Magazine Vertigo

Screenwriting Magazines Scenario (US) www.scenariomag.com subscriptions: 001 800 222 2654 Creative Screenwriting (US) www.creativescreenwriting.com

41

Title Unit 3: Writing the Feature Film

Level M

Leader Brian Dunnigan

Home Academic department HAL

Teaching Location Collaborative/Off site

Teaching Semester Summer

Teaching Mode Day

Type PROJ

Credit rating 60

Prerequisites and co-requisites Pass Unit 1 and Unit 2 Summary This unit focuses on the development of the key practical work of the Masters programme – the writing and development of a feature film project, supported by one-to-one mentoring and small group tutorials. This unit also continues the series of lectures on the history of cinema with evening screenings built around discussion and contact with contemporary filmmakers and writers. Visiting writers, producers and agents along with specialist workshops on television writing and adaptation provides the industrial context and preparation for the professional world. The final screenplay along with an outline of project development and the work and research journal complete the assessable work for the Masters programme. Aims

To support the development of strong and original ideas

To encourage the research and development of those ideas

To promote creative development through a series of draft screenplays

To support understanding of the revision and re-writing process

To encourage a distinctively cinematic approach from idea to draft screenplay

To provide a stimulating and challenging mentoring relationship with an industry professional

To support the student through this process

To provide an arena in which risks can be taken and horizons expanded

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To support the understanding of the role of producers, development executives and script editors in the development process

To widen the student‟s professional experience and enhance his/her understanding of the industrial relationships involved in realising a screenwriting project as a feature films for production, distribution and exhibition

Objectives

By the end of this module the student will have produced:

A work and research journal

A second draft feature-length screenplay that shows a clear understanding of dramaturgical and screenwriting principles, as well as integrity and originality

Learning Outcomes On successful completion of this module students will be able to demonstrate:

The evaluative, analytical and creative skills necessary for the writing of a feature film screenplay to professional standards

The development of a professional approach to the practice of screenwriting

A network of other writers, directors and producers working in the industry

Syllabus

Contemporary Cinema: classes on current world cinema, including visiting filmmakers and screenwriters. Debate, discussion, professional contacts.

Film History and Analysis III: continuing a series of lectures on the history of cinema and filmic narrative. Students from both the Screenwriting and Filmmaking MA. Includes some evening screenings.

The Business of Film II: the industry context for writers including copyright, packaging, self-employment skills, agents, options, markets. Lecture/Seminars, including sessions with visiting practitioners in media law, development, finance and production. Includes some evening and weekend sessions.

Specialist workshops: writing for television; adaptation; comedy; script development and script editing

The Feature Film III: the revision and re-writing process; development of the first draft through two drafts and a final revision of no less than 90 pages and no more than 120. At the beginning of the third unit, each student will be assigned a mentor who will provide key support in their MA project development. Supported by small group tutorials.

Assessment

Assessment is based on criteria defined in learning outcomes. Assessment for this module is by consideration of:

A work and research journal

A second draft (revised) feature fiction screenplay

43

Assessment criteria A student who passes this unit will show a good understanding of the principles of narrative and dramatic writing for the screen which includes reference to the following aspects:

Premise: The central idea on which the project rests.

Audience: The writer's awareness of a potential audience for the project; how well s/he has designed the project for the appropriate type and scale of production.

Presentation: Layout, spelling, clarity of the script on the page.

Story World: How consistent is the internal logic of the project; if it is realistic, how believable its setting.

Character: How well the writer has understood the characters, and how well they are tailored to the needs of the specific story world.

Narrative and Dramatic Structure: The energy, conviction and shape of the narrative as described.

Theme and Tone: How the project's controlling idea is expressed through the storyline, and through the originality of the writer's voice.

Visual Storytelling: The degree to which the project is constructed towards the primarily visual medium of film.

Scene Writing: The structure, compression and visual imagination of the sample scenes.

A pass means that the writer demonstrates an understanding of and ability to integrate most of the following in their work:

a dramatic premise that expresses a clear theme.

a credible fictional world that utilises details of temporal and physical setting, mood and style to engage an audience

a screen story that is imaginative, personal yet universal, and avoids stereotype and cliché

a screenplay that is clear and concise in presentation and that utilises interesting descriptive detail of character, setting and action to engage a reader and create the idea and image flow of a distinctively cinematic narrative

well-rounded and clearly motivated characters who can develop, change and interact in a credible way that engenders audience recognition and engagement

dialogue that is credible and consistent with the established characters and story world and that is utilised to enhance subtext, tone and characterisation

well-constructed scenes with focus, dramatic shape and details of mood, characterisation, theme and imagery as well as narrative development

a dramatic structure that includes an understanding of set-up, development and resolution, as well as narrative techniques of suspense and surprise, planting and pay-off, discovery and reversal, crisis and climax

a screenplay with a strong visual structure in the details of setting, characterisation and action as well as the imaginative use of imagery to create mood, atmosphere and metaphorical meaning

a screenplay aimed at a specific market and audience A student who fails the unit will have shown two or more of the following:

a failure to understand three or more of the basic principles of narrative and dramatic writing for the screen as outlined above

an inability to conceive, develop and deliver a polished second draft screenplay for an original feature film

an inability to reflect critically on their work and that of their peers

44

a disregard for the collaborative process

a consistent failure to provide critical, creative and constructive feedback in seminars and workshops

repeatedly missing interim and final deadlines for assessed work and due dates for other assignments

a series of unexcused absences from classes

Bibliography Armes, R. The Ambiguous Image: Narrative Style in Modern European Cinema. London: Seeker and Warburg. 1976. Blacker, I. The Elements of Screenwriting. NY: Macmillan, 1986. Blum, R. Television and Screenwriting. Focal Press, 2000. Cox, K. & Wolff, J. Successful Scriptwriting. Writer's Digest Press, 1988. Dancyger, K. & Rush, J. Alternative Scriptwriting. Boston: Focal, 1995. Field, S. The Screenwriter's Workbook. NY: Dell, 1984. Finney. A. (ed) The Rise and Fall of Palace Pictures. London: Heinemann, 1996. Fleischer, J. Writing the Feature Film. Sources/Media II, 1995. Friedman, J. How to Make Money Scriptwriting. London: Intellect, 2000. Francke, L. Script Girls: Women Screenwriters in Hollywood. London: BFI, 1994. Froug, W. Screenwriting Tricks of the Trade. Silman-James, 2000. Goldman, W. Adventures in the Screen Trade. Futura, 1996. Goodell, G. Independent Feature Film Production. New York: St. Martin‟s Press, 1995. Kindem, G. (ed) The American Movie Industry: The Business of Motion Pictures. Carbondale and Edwardsville: Southern Illinois University Press, 1982. King, V. How to Write a Movie in 21 Days. New York: Harper Perennial, 1988. Hauge, M. Writing Screenplays That Sell. London: Elm Tree Books, 1991. Hamilton, I. Writers in Hollywood 1915-1951. London: Minerva, 1991. Harris, E. African-American Screenwriters Now: Conversations with Hollywood’s Black Pack. Silman-James, 2000. Hillis R. C. & Hagg, J.H. The Complete Guide to Standard Script Formats Howard, D. & Mabley, E. The Tools of Screenwriting. NY: Griffin, 1995. Horton, A. Writing the Character-centred Screenplay. Samuel French, 1994. Johnson, C & Stevens, M. Script Partners: What makes TV and Film Writing Teams Work. Focal Press, 2003. Lawson, JH. The Theory and Technique of Playwriting and Screenwriting. NY. G.P. Puttnam, 1949. Lee, L. A Poetics for Screenwriters. University of Texas, 2001. McCreadie, M. The Women who write the Movies: from Francis Marion to Nora Ephron. NJ: Carol Publishing Group, 1994. McGrath, D. & Macdermott, F. Screencraft: Screenwriting Interviews. Rotovision, 2003. Miller, W. Screenwriting Narrative for Film and TV. Columbus Books, 1990. Neale, S. Genre and Hollywood. London and New York: Routledge, 2000. Owen, A. Interviews with British Screenwriters. London: Bloomsbury, 2003. Obst, L. Hello He Lied. Little Brown and Co. 1996 Potter, C. Image, Sound and Story. Weidenfield, 1991. Portnoy, K. Screen Adaptation. Boston: Focal Press, 1998. Thompson, K. Storytelling in the New Hollywood: understanding classical narrative technique. Harvard University Press, 2002. Seger, L Making a Good Script Great. Samuel French, 1987. Swain, D.V. Film Scriptwriting: A Practical Manual. Focal Press, 1998. Vogler, C. The Writer's Journey. LA: Michael Wiese, 2001. Voytilla, S & Petri, S. Writing the Comedy Film. Focal Press, 2003

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Original Screenplays www.thescreenwriterstore.co.uk www.harvestmoon.com www.scriptshack.com

Scripts On-line www.dailyscript.com www.scriptdude.com www.script-o-rama.com www.simplyscripts.com www.joblo.com www.scriptcrawler.net www.iscriptdb.com http://geocities.com/classicmoviescripts/ www.movie-page.com/movie_scripts.htm

Writers’ Websites www.bbc.co.uk/writersroom/ www.sources.deu.net www.writerswrite.com www.writing.org.uk www.writerswebsite.com

Filmmakers‟ Sites www.bfi.org.uk www.britfilms.com www.exposure.co.uk www.filmfour.com/mm/mmHome.jsp www.mandy.com www.netribution.co.uk www.shootingpeople.org www.tdfilm.com www.theknowledgeonline.com www.screendaily.com