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BA Film Studies and History / Course details
Year of entry: 2023
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Course unit details:
Introduction to Screenwriting
|Unit level||Level 2|
|Teaching period(s)||Semester 1|
|Available as a free choice unit?||No|
This course offers students a practical introduction to writing for the screen, and will result in writing a short film. Students will learn about the core techniques of visual story-telling through watching and analysing the short film work of writers such as Martin McDonagh and Andrea Arnold and watching clips of a wide variety of feature films. We will explore how writing for the screen is different than other forms of writing and is both an industrial and an artistic practice.
Students will develop and hone their own writing skills through a series of focused writing exercises that will be critiqued in class. Students will be introduced to theories of story design, will use screenwriting software, and be taught how to develop their work draft by draft. Weekly classes will cover the classic three act structure, beginnings and endings, the importance of genre, universal themes and their audience relevance, as well as dialogue.
Students will be expected and encouraged to develop and extend their own knowledge of film and television history: there will be weekly viewing and reading requirements, and a recommended viewing list will be provided. Each student will write an original short film script for their final assessment. Students will work as a group to provide feedback and to learn from each others’ work.
The unit aims to:
Knowledge and understanding
Demonstrate a wider knowledge of short films and the history of the genre.
Understand the core structure of a screenplay.
Demonstrate a strong understanding of how stories work and how and why audiences respond to them.
Understand how genre affects and guides story.
Critique their own and others’ work effectively and constructively.
Use their extended knowledge of short film history as a resource to develop and refine their own writing practice.
Better understand the core techniques of visual story-telling
Express themself effectively in written and oral form.
Effectively revise their own work based on constructive criticism from their peers.
Write a short film script that demonstrates an understanding of some of the core techniques of visual story-telling.
Transferable skills and personal qualities
Write to a deadline and within the conventions of a certain genre.
Understand storytelling skills that could be transferred to advertising, journalism, theatre or any other writing which is to persuade an audience.
Work both independently and within a creative team.
Express their own ideas with confidence and clarity.
- Group/team working
- Ability to work independently and as part of a team, as part of creative and critical projects that present unpredictable and challenging scenarios;
- Creative thinking creative and critical approaches to problem-solving;
- Awareness of the importance of contributing to public life and demonstrating good citizenship ¿ our curriculum is socially and politically engaged, and encourages students to develop a sense of social responsibility in their professional and personal life;
- Project management
- Project management ¿ planning, undertaking, managing and evaluating projects;
- Written communication
- Ability to present self and ideas effectively, including when dealing with complex and sensitive topics; Ability to present self and ideas effectively, including when dealing with complex and sensitive topics;
- Emotional intelligence ¿ ability to use emotional and cognitive capacities when approaching challenges;
|Written assignment (inc essay)||30%|
Short film script
Verbal and written feedback on pitch and draft scenes
Peer and discursive feedback on writing exercises in workshops
Written feedback on final script submission and film critique
Additional one-to-one feedback (during consultation hour or by making an appointment)
Formative and Summative
Craig Batty and Zara Walderback. 2019. Writing for the screen: creative and critical approaches. Red Globe Press
Daniel Bernardi and Julian Hoxter. 2017. Off the page: Screenwriting in the era of media convergence. University of California Press
Bridget Conor. 2014. Screenwriting: Creative Labour and Professional Practice. Routledge
Rachel Alicia Griffen et al (eds). 2018. Adventures in Shondaland: Identity Politics and the Power of Representation. Rutgers University Press
Steven Maras. 2016. Ethics in Screenwriting: New Perspectives. Palgrave Macmillan
Blake Snyder. 2005. Save the cat!: The last book on screenwriting you’ll ever need. Michael Weise Productions
Natalie Wreyford. 2018. Gender Inequality in Screenwriting Work. Palgrave Macmillan
Screen Studies database (Bloomsbury)
For commentary on a more diverse group of screenwriters than are currently recognised in existing screenwriting textbooks and research, go to online sources such as gal-dem, thebritishblacklist.co.uk, and BFI Screenonline.
|Scheduled activity hours|
|Independent study hours|