Screenwriting - Lesson 1 - Introduction
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A screenplay is a written work that describes the shots and scenes in a movie. It teaches how films are constructed as carefully crafted stories meant to elicit specific emotions, similar to books. Understanding screenwriting gives insight into how movies are created and allows writers to feel empowered in completely controlling a film's story. A screenplay follows a particular format and deals in visual elements and pieces of filmed action rather than internal thoughts, so writers must show rather than tell to visualize what will appear on screen.
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- The document provides instructions for students to work in pairs to brainstorm, script, and storyboard their own short animations that convey an emotion.
- Students will choose an emotion as the focus, develop a plot and characters, write a script describing the animation's actions, and create a storyboard to visually plan each panel before creating the animation.
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This document outlines some typical codes and conventions of teen drama films, including:
- Dull lighting and close-ups are commonly used in mise-en-scene.
- Props like alcohol, drugs, guns and knives are frequently featured.
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- Gritty settings like council estates, flats, and schools are portrayed.
- Costumes show worn, torn clothing.
- Examples of influential teen dramas are listed, along with typical actors in the genre.
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The document discusses narrative theory and its application to film. Narrative is defined as "a chain of events in cause-effect relationship occurring in time and space." A narrative has two main components - the story, which is the events presented, and the plot, which is the arrangement of those events. Analyzing a film's narrative involves studying both its story and how that story is told through elements like mise-en-scene, cinematography, editing, and sound. Narratives function in different ways like being open or closed and can be linear or non-linear. They serve purposes such as delivering the story, deciding the order of information, establishing perspective, and pace.
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The document discusses several codes and conventions commonly used in comedy films. Camera shots like close-ups and point-of-view shots are used to highlight comedic moments and position the audience. Lighting is often bright and colorful to reflect the upbeat tone, while sound effects enhance jokes and slapstick. Mise-en-scene and editing are also manipulated to exaggerate characters and situations for comedy, through techniques like costuming, reaction shots, and building dramatic irony. Common themes in comedies include action, romance, and satire, and genres like parody and black comedy aim to make audiences laugh.
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The document discusses the history and role of the director in theater. It traces the evolution of the director from the Greek didaskalos or teacher, to the modern director like George II, Duke of Saxe-Meiningen in the 19th century, who is credited as the first modern director for his use of long rehearsals, attention to detail, and advocacy for historical accuracy that influenced Stanislavsky. The document also outlines the various responsibilities of the director, such as script analysis, structural analysis, production concept, casting, blocking during rehearsals, and synthesizing the work of other artists into a unified theatrical production.
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The document provides instructions for watching and summarizing a silent short film. Students are asked to take notes while watching the film without sound in order to guess what happens in the story and how characters are feeling. They will then write their own best version of the story using the notes and vocabulary words to describe the characters' feelings.
Media qualifying work powerpoint
This document provides guidance for writing short film scripts. It discusses key elements like focusing the story on a single idea or character's problem, establishing a familiar setting, making the character's internal problem manifest visually, ensuring the stakes are high, and choosing the best point of view. It emphasizes showing rather than telling through actions, visuals, and sound over dialogue. The document also offers tips for developing the script through outlines, feedback, and following screenwriting conventions.
Horror film making tips
The document provides tips for writing a horror movie screenplay. It advises writers to come up with original ideas rather than cliches. Writers should draw on their own deepest fears to make the horror feel genuine. Successful horror movies include one or more scenes that have never been seen before and leave a lasting impression. The screenplay should start with a surprising beginning and build tension throughout, with the scariest scenes towards the end. Low-budget horror movies should avoid computer graphics and special effects. Overall, writers should watch many horror movies to understand the genre but ensure their work feels realistic and does not become unintentionally funny.
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Lesson 5 - Independent Writing
This lesson instructs students to independently write at least 2 pages of their screenplay, considering elements such as setting, character, story, theme, stakes, genre, structure, dialogue, visual storytelling, format and layout.
Lesson 4 - Short Film & Dialogue Activity
This document provides guidance and activities for a screenwriting lesson on short films and dialogue, including having students: 1) Write a short conversation between two people meeting mid-conversation on a street corner; 2) Write a beginning, middle, and end for a short film idea and describe the main character; and 3) Begin working on an opening scene for a short film in Word and saving it to One Drive.
Lesson 3 - Subject & Character
The document introduces the concepts of subject, action, and character for screenwriting. The subject is defined as an action and a character - the story is about what happens to the central character. Writers must determine the subject of their screenplay by establishing the action - what happens at the beginning and end of the story, and any conflict or obstacles - and developing the central character, including their dramatic need, fears, hopes and backstory.
Lesson 2 - Adapting and Writing
Students are instructed to discuss ideas in pairs for a screenplay they will write, focusing on setting, main character, and three-act structure. They will be adapting and writing their own screenplay by completing a task from Worksheet 2 after reading about adaptation, how most Hollywood films are adapted from other works, and what constitutes an original or "spec" script.
Lesson 5 - Peer Marking of Individual Analysis
Students were instructed to email their music video analysis to another class member for peer review. They were to watch the other student's video twice, taking notes on the second viewing. They then read the analysis and provided comments on what was done well, could be improved, and may have been missed. A grade of A-E was given along with a short summary explaining the grade. The reviewed analysis was then emailed back along with feedback. Students were to incorporate at least two points from the feedback into their original analysis.
Lesson 1 - Introduction to Music Video
This document provides an overview of music videos, including their purpose, history, styles, and conventions. It discusses how The Beatles helped pioneer the music video as a promotional tool in the 1960s. The rise of MTV in 1981 greatly increased music videos' popularity and production. Videos can have performance, narrative, or conceptual styles. The document examines examples and analyzes how they reflect different music genres. It also provides checklists of typical techniques and representations in rock, pop, and hip hop music videos.
Lesson 8
This document summarizes how different aspects of mise-en-scene such as costume, hair and makeup, setting, lighting and color, performance, space, and props all convey meaning and influence how the audience feels in a media text. It then analyzes two newspaper headlines about the European Space Agency's Rosetta spacecraft landing a probe on a comet. The headlines differ in style, with The Mirror using a pun to grab attention while informing less, and The Telegraph providing more detailed information through a longer sentence. The differences reflect the newspapers' different assumed audiences and approaches to attracting readers.
Lesson 7 - The Sun & Daily Mirror
Students were instructed to research the ownership and political biases of British newspapers The Sun and Daily Mirror. They were then asked to analyze and compare front pages from the two newspapers, considering how each uses media language to position audiences and how different demographics may respond. Students were to work in pairs to create headlines and summaries reflecting the research for stories about Donald Trump becoming president, and then share what they learned to create a factsheet covering the newspapers' ownership, agendas, audience positioning techniques, and how audiences may respond.
Lesson 1 - Introduction to Media Audiences
This document provides an introduction to understanding audience for media texts. It defines demographics as quantifiable characteristics used to categorize human population groups. The document lists nine common demographic categories and discusses how age, social class, and occupation can be demographically categorized. It also introduces Young & Rubicam's psychographic "4 C's" model that segments audiences based on their motivations and attitudes. The document suggests analyzing newspaper front covers to identify their targeted demographics and psychographics and how media language positions audiences.
Lesson 7 - Revision Session
This document provides a lesson plan on representation for a revision session. It begins with 5 questions to test understanding of key concepts related to representation, including the 6 elements of mise-en-scene, Lisbet Van Zoonen's Objectification Theory, defining stereotypes, and conventions of print advertising. It then provides the definition of PES and instructs students to write a paragraph analyzing representation in a Calvin Klein perfume advert using PES. Suggested revision activities include creating a quiz, annotating a perfume ad, and revising representation notes. Useful online resources on representation and print advertising are also listed.
Lesson 5 - Conventions of Print Advertising
The document discusses conventions of print advertising composition and representation. It explains the rule of thirds for composing frames, noting images should be divided into nine equal parts with focal points aligned along the four intersections. Depth of field is also covered, distinguishing between deep focus showing everything sharp versus selective focus picking out a particular sharp part of the frame while blurring the rest. The main activity instructs students to label an advertising print with terminology, annotate it linking to representation, exchange with peers, and individually write a paragraph analyzing representation using appropriate language and theory.
Lesson 4 - Introduction to Advertising
This document provides an introduction to advertising and representation. It discusses why advertising is important, common advertising types, and how narrative and representation are used. Stuart Hall's theory of representation is introduced, which discusses how representations in media can rely on stereotypes that reinforce dominant ideologies and subordinate social groups. Students are then asked to analyze a television advertisement by considering representation and how it helps sell the product.
Lesson 3 - Introduction to Ideology
Ideology is a set of attitudes, beliefs and values held in common by a group that are culturally reproduced to sustain a particular way of life. Dominant ideologies reflect what is considered normal or standard in a society at a given time, such as expectations of how certain groups like teenagers, women or the elderly behave or present themselves. The media plays a role in reinforcing dominant ideologies through the representations and portrayals in its content. Audiences need to recognize, challenge, and be aware of the particular world views or interests that may be promoted or challenged in different media texts.
Lesson 2 - Representation and Gender
The document discusses various theories around the representation of gender in media, including Laura Mulvey's male gaze theory and Lisbeth Van Zoonen's views on representation and objectification. Mulvey argues that women are framed from a male perspective in film and are styled for visual and erotic impact. Van Zoonen believes gender is constructed through media language and these constructions reflect patriarchal societies where the objectification of women is common. The document examines how these theories can be applied when analyzing media texts and their representation of gender.
Lesson 1 - Representation
The document discusses the concept of representation in media studies. It defines representation as how groups, individuals, events, places or social changes are portrayed through media. Representations are subjective rather than objective and are constructed based on choices made in the media text. Stereotypes are oversimplified representations of groups that universally apply common characteristics. The document examines how stereotypes are used and discusses the reality show Benefits Street as an example of representation.
Lesson 8 - Narrative
This document discusses narrative structure and techniques. It begins by defining key terms like story, plot, and narrative. It then discusses binary opposition theory proposed by Claude Levi-Strauss, which suggests narratives are structured around opposing concepts like good vs evil. It also explains Syd Field's three act structure model for plot points in beginning, middle, and end. An example is given applying this structure to the story of Cinderella. Finally, students are tasked with reimagining Cinderella in a new genre while maintaining narrative elements like three act structure and binary oppositions.
Lesson 5 - Semiotics
This document provides an introduction to semiotics and media language. It defines key terms like denotation, connotation, and semiotics. Denotation refers to the literal or obvious meaning, while connotation involves cultural associations and symbolic meanings. Semiotics is defined as a system for analyzing visual images and words. The document discusses Ferdinand de Saussure's concept of the signifier, signified, and referent. It also covers Roland Barthes' theory that meanings are constructed through processes of signification and myth-making. Barthes argued that symbolic meanings become naturalized as cultural myths. Examples are provided to illustrate how to identify denotations and connotations, as well as potential myths, in media images
Lesson 4 - Editing
The document poses a series of logic puzzles or riddles involving unusual situations that require thinking outside the box to solve. It asks the reader to consider seemingly impossible scenarios and determine the logical explanations for how they could occur, testing their ability to think creatively and hypothesize plausible solutions. The goal is to engage critical thinking skills by presenting scenarios that challenge common assumptions.
Lesson 3 - Sound
The document provides an introduction to sound in media language. It includes three sound clips to analyze and questions about the four elements of sound, diegetic and non-diegetic sound, and how sound can create meaning for an audience. It also defines the categories of sound as diegetic (coming from within the story) and non-diegetic (coming from outside the story). An activity is described where students watch a clip from The 24 and take notes on different types of sound to analyze how sound helps create meaning.
Lesson 2 - Camera
The document provides an introduction to analyzing camera work in media texts. It defines various camera techniques including shot types (such as close-up, medium shot, wide shot, etc.), camera angles (such as low angle, high angle, canted angle), and camera movements (such as panning, zooming, tracking). Examples are given of each technique along with potential meanings and effects. The document instructs readers to identify these techniques in an unseen media clip and discuss the intended effects on the audience and reasons for their use by the director.
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Screenwriting - Lesson 1 - Introduction
- 1. What is a Screenplay? Summarise in 10 words, 5 words and 1 word
- 2. Introduction to Screenwriting Lesson 1: Where to begin?
- 3. A Definition… • A story told with pictures, in dialogue and description, and placed within the context of a dramatic structure
- 4. • It teaches you how films are constructed, that they are stories carefully constructed to make you feel a specific way, just like books. • It's important to understand how films are created. Screenwriting can give you another way to create and express yourself. • As a screenwriter, you have complete control, unlike any other area of film- making. You can feel empowered as a writer. Why learn about screenwriting?
- 5. Understanding the Words Behind the Images • Read the script extract from Toy Story and discuss how it makes you feel and also, how the characters feel. We will then watch the clip…
- 6. Toy Story (1995) Pixar Animation Studios • https://www.youtube.com/watch?v=iOKymYV SaJE
- 7. How do you write a screenplay? • When screenwriting you should always try to visualise what will be on the screen • Writing characters that seem real is one of the most difficult parts of screenwriting • Writing dialogue that seems real is probably the most difficult part! • Every page of a screenplay is approximately one minute of screen time • Screenwriting follows a particular format with rules…
- 8. Screenplay Format: Key terms in screenwriting • Read through Worksheet 1 and complete the task.
- 9. A VISUAL MEDIUM • A screenplay is NOT a novel! • It deals in images and pieces of film – We see a clock ticking, a window opening, a person on a balcony, smoking. In the background we hear phone ringing, a baby crying, a siren wailing… • Everything in the screenplay must be seen. In a novel we could say, "Jack walked down the street sadly, thinking about his lost dog." In a screenplay, the reader can't see what Jack is thinking, so we have to write something that the camera can film.
- 10. TASK In groups, Come up with a variety of clever ways to show that Jack is thinking about his lost dog You must come up with a minimum of 2 ideas – prizes for groups who come up with the most You will need to share at least 1 of your ideas with the class.
- 11. What you could have done… • Describe his body language ("he shuffles along, shoulders heavy") • He could be carrying a lead with a dog collar; he can have a picture of the dog that he asks people about as he passes by; he can staple up "lost dog" signs etc.
- 12. NEXT LESSON • Ideas for your screenplay (be realistic!) • What story do you want to tell? • Name a film that you enjoyed. Read a few pages from the screenplay…