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|Discipline and Nbr:
WRITING FOR FILM/TV||
Writing for Film & Television
|Units||Course Hours per Week|| ||Nbr of Weeks||Course Hours Total
|Maximum||3.00||Lecture Scheduled||3.00||17.5 max.||Lecture Scheduled||52.50
|Minimum||3.00||Lab Scheduled||0||6 min.||Lab Scheduled||0
| ||Contact DHR||0|| ||Contact DHR||0
| ||Contact Total||3.00|| ||Contact Total||52.50
| ||Non-contact DHR||0|| ||Non-contact DHR Total||0
Title 5 Category:
AA Degree Applicable
Grade or P/NP
00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As:
| ||Total Out of Class Hours: 105.00||Total Student Learning Hours: 157.50||
Writing for the visual media is one of the most important modern communication skills. This course covers theory and practice of writing drama and comedy scripts for film and television.
Completion of ENGL 357, MEDIA 41, MEDIA 42, MEDIA 77, MEDIA 79A.
Limits on Enrollment:
Schedule of Classes Information
Analysis of the theory, form & practice of writing for film & television. Emphasis on writing original scripts.
(Grade or P/NP)
Recommended:Completion of ENGL 357, MEDIA 41, MEDIA 42, MEDIA 77, MEDIA 79A.
Limits on Enrollment:
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP
ARTICULATION, MAJOR, and CERTIFICATION INFORMATION
Certificate Applicable Course
Outcomes and Objectives:
Upon completion of the course, students will be able to:
|CSU GE:||Transfer Area|| ||Effective:||Inactive:
|IGETC:||Transfer Area|| ||Effective:||Inactive:
The students will:
1. Utilize dramatic theory in writing for film and television.
2. Identify and select material appropriate to a particular medium.
3. Evaluate character motivation and psychology.
4. Assess and employ methods of non-verbal communication in writing.
5. Plan and organize story and character elements into dramatic
6. Describe how conflict and goals are translated into action by
7. Describe the function of the script in relation to the entire
8. Identify industry requirements for writing in film and television.
Topics and Scope
1. Aristotlean, Elizabethan and contemporary dramatic theory as
applied to writing for film and television.
2. The definition, function, and creation of characters. How character
functions in relation to plot.
3. The interaction of main and subplots. Theme and plot. How to plot
a story. Multi-level plotting.
4. Dialogue as a function of character. Verbal versus non-verbal
communication in drama. Attributes of good dialogue.
5. Film grammar and its place in writing. Manipulation of time and
space. Camera angle and story telling logic.
6. Economic and industury factors bearing on the creative process.
7. Learning to write in the proper format.
8. How to select and evaluate story. The importance of tone and setting.
A. Reading and analysis of representative screenplays, novels,
and short stories.
B. Style handbook for proper writing formats.
C. Periodical literature pertinent to screenwriting topics and
to the film and television industry which applies to the
writer and the writing process.
2. Screenings and discussions of representative feature films and
television programming. Analysis of the changes which occur between
the written word and its visual image.
A. Weekly creative assignments dealing with various topics such
as format, dialogue, characterization.
B. A major course project consisting of an original comedic or
or dramatic script for film or television 60 pages in
Methods of Evaluation/Basis of Grade.
Representative Textbooks and Materials:
|Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.||Writing
60 - 75%
|Written homework, Term papers||
|Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.||Problem Solving
20 - 30%
|Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.||Skill Demonstrations
0 - 0%
|Exams: All forms of formal testing, other than skill performance exams.||Exams
0 - 0%
|Other: Includes any assessment tools that do not logically fit into the above categories.||Other Category
15 - 30%
|ATTENDANCE AND CLASS PARTICIPATION||
WRITING THE SCREENPLAY, Alan A. Archer, Wadsworth, 2nd ed., 1993
ON THE WATERFRONT, Budd Schulberg, Samuel French Publishing, 1988
FIVE SCREENPLAYS BY PRESTON STURGES, University of California, 1985
THE TREASURE OF THE SIERRA MADRE, John Huston, University of Wisconsin