GENERAL COMPETENCES

G001 - Acquire knowledge and understand the meaning and relevance of theories, concepts and methodologies in the context of the (inter)disciplinary field of audiovisual communication.

G002 - Apply theories and methodological tools to practice in different communicative processes and contexts.

G004 - Analyse, interpret, explain and critically evaluate facts, social processes, texts and communicative projects.

G006 - Develop skills and abilities related to participation, management and optimisation of teamwork, applying informed criteria to decision-making and evaluation of results.

G007 - Apply skills and use techniques, technologies and resources to the development of audiovisual communication and information contents and processes.

G008 - Plan and design strategies aimed at identifying objectives and planning actions in the context of the development of audiovisual communication and information contents and processes.

G009 - Acquire knowledge and experience of professional environments and routines in the field of audiovisual communication.

G010 - Search for, select, prioritise and analyse information from different sources, adapting its content to different narrative forms and strategies.

CB1 - Students have demonstrated possession and understanding of knowledge in an area of study that builds on the foundation of general secondary education, and is usually at a level that, while relying on advanced textbooks, also includes some aspects that involve knowledge from the cutting edge of their field of study.

CB2 - Students are able to apply their knowledge to their work or vocation in a professional manner and possess the competences usually demonstrated through the development and defence of arguments and problem solving within their field of study.

CB3 - Students have the ability to gather and interpret relevant data (usually within their field of study) in order to make judgements which include reflection on relevant social, scientific or ethical issues.

CB4 - Students are able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences.

Identifier

CB5 - That students have developed those learning skills necessary to undertake further study with a high degree of autonomy.





TRANSVERSAL COMPETENCES

TC1 - Autonomy and self-regulation

TC7 - Critical thinking

TC8 - Teamwork



SPECIFIC COMPETENCES

C3CC02 - Discriminate, understand and analyse different theories, practices and discursive strategies of audiovisual texts, both fiction and non-fiction.

fiction and non-fiction audiovisual texts.

C3CC03 - Identify the different models of analysis, as well as their methodological rudiments and apply them to the analysis of audiovisual texts.

audiovisual texts.

C3CC04 - Discern and understand the fundamentals, techniques and processes of scriptwriting.

C3CC06 - Develop skills and abilities for the planning, management and optimal development of teamwork.



LEARNING OUTCOMES



1. Students identify and critically assess the main narrative strategies and resources used in audiovisual texts and scripts. 2.

narrative strategies and resources used in audiovisual texts and fiction scripts.

2. Develops the different phases of the creation process of a fiction script.

3. Is able to write a fiction script, both in terms of the technical and formal characteristics of the text, as well as in terms of the

and formal characteristics of the text, as well as in terms of structure, creation of characters and use of dialogue.

and use of dialogue.

4. Can adequately present and defend a fiction script project.

SYLLABUS

1. Definition of the fiction script

2. Beginning of the creative process. Origins of the stories

3. Narrative structures and strategies

4. The construction of the character

5. The causal chain. Scale and treatment

6. Strategies for writing a literary script

7. The construction of scenes and sequences

8. Dialogue

9. Narrative resources

10. Presentation of projects



CLASSROOM PRACTICE:

- Viewing and analysis of selected fragments.

- Reading of scripts.

- Exercises to develop creativity.

- Exercises to apply the techniques explained.

- Exhibition and defence of projects.



COMPUTER EXERCISES

Practical exercises related to the theoretical syllabus:

- Dramatisation and writing in images.

- Script format.

- Narrative structure.

- Characters.

- Structuring of sequences and scenes.

- Dialogues.

The master classes are dedicated to the explanation of theoretical content illustrated by concrete examples, both audiovisual and textual, analysed in the

through concrete examples, both audiovisual and textual, analysed in the classroom by the teacher.



In classroom practice, students will work individually or in pairs and will carry out

analysis of texts or audiovisual fragments, creativity exercises and oral presentations.



The computer exercises are carried out in a multimedia room individually and with computers equipped with the Scenarist scriptwriting programme. Short technical and creative exercises will be carried out and handed in at the end of the hour of class.

CONTINUOUS ASSESSMENT:

PRACTICES: 20% PRACTICES: 20% PRACTICES: 20% PRACTICES: 20% PRACTICES

SCRIPT OF A FICTION SHORT FILM (in group): 20%.

DRAFT OF A FICTION LONG FILM SCRIPT (individual):

- Complete structure 40%

- Excerpt from the screenplay 20%.

All parts must be handed in on time and passed separately in order to pass the course by means of continuous assessment. In the event that the health situation requires virtual teaching, this assessment system will be maintained with the completion and delivery of all tasks and assignments through eGela.

In accordance with art. 8.3 of the Regulations on Student Assessment, students who wish to abandon continuous assessment and adhere to the final assessment must submit a written waiver of continuous assessment to the lecturers responsible for the subject within the first nine weeks from the start of the term.



FINAL ASSESSMENT:

EXAMINATION: 40%.

DRAFT OF A FEATURE-LENGTH FICTION SCRIPT:

- Complete structure 40%

- Fragment of the literary script 20%.

In this case it is also necessary to pass all parts separately in order to pass the course.

In both the continuous assessment and the final exam, the scripts will be assessed according to the following criteria:

- Structure

- Character design

- Dialogue quality

- Appropriate style and format

- Correct use of language and spelling.

The stories must be original, although exceptionally and for justified reasons, the teaching staff may accept the adaptation of literary texts. In this case, it is understood that certain assessment criteria, such as the structure or character design, are devalued, so that the total mark for the script project is reduced by 20%.

In accordance with art.12.2 of the Regulations on Student Assessment, students may waive the ordinary exam within a period of one month before the end of the teaching period. The resignation must be presented in writing to the lecturer responsible for the subject.

In the case of students taking the final assessment, it will be sufficient not to take the test set on the official assessment test date.

Those published in egela.

Basic bibliography

CHION, Michel, Cómo se escribe un guión, Madril, Cátedra, 1988.

McKEE, Robert, El guión, Bartzelona, Alba, 2002.

SÁNCHEZ-ESCALONILLA, Antonio, Estrategias del guión cinematográfico, Bartzelona, Ariel, 2001.

STEELE, Alexander (ed.) (Gotham Writers' Workshop), Escribir cine. Guía práctica para guionistas de la famosa escuela de escritores de Nueva York, Bartzelona, Alba, 2014.

ZUBIAUR, Nekane E., Ikusizko narrazioa. Fikziozko gidoiaren oinarriak, Bilbo, EHU-ko Argitalpen Zerbitzua, 2021.

In-depth bibliography

ARISTÓTELES. Poética, Madril, Gredos, 1999.
BALLÓ, J. y PÉREZ, X. La semilla inmortal: los argumentos universales en el cine, Bartzelona, Anagrama, 1997.
CARRIÈRE, JC. y BONITZER, P. Práctica del guión cinematográfico, Bartzelona, Paidós, 1991.
CORBETT, D. El arte de crear personajes, Bartzelona, Alba, 2018.
CRUZ, C. Imágenes narradas: cómo hacer visible lo invisible en un guión de cine, Bartzelona, Laertes, 2014.
FIELD, S. El libro del guión: fundamentos de la escritura de guiones, Madril, Plot, 1994.
FIELD, S. El manual del guionista, Madril, Plot, 1995.
FIELD, S. Prácticas con cuatro guiones, Madril, Plot, 1997.
GOLDMAN, W. Las aventuras de un guionista en Hollywood, Madril, Plot, 1992.
LAVANDIER, Y. La dramaturgia, Madril, Ediciones Internacionales Universitarias, 2003.
MACKENDRICK, A. On Film-making. Manual de escritura y realización cinematográfica, Madril, Ediciones Jaguar, 2013.
MARÍN, F. Cómo escribir el guión de un cortometraje, Bartzelona, Alba, 2011.
McKEE, R. El diálogo, Bartzelona, Alba, 2018.
RÍOS SAN MARTÍN, M. (coord.). El guión para series de televisión, Madril, IORTV, 2012.
RODARI, G. Gramática de la fantasía, Bartzelona, Ediciones del Bronce, 2006.
SEGER, L. Cómo convertir un buen guión en un guión excelente, Madril, Rialp, 1991.
SEGER, L. El arte de la adaptación: cómo convertir hechos y ficciones en películas, Madril, Rialp, 1993.
SEGER, L. Cómo crear personajes inolvidables, Bartzelona, Paidós, 2000.
SEGER, L. El secreto del mejor cine. El subtexto en el guion y en la novela, Madril, Rialp, 2018.
SNYDER, B. ¡Salva al gato! El libro definitivo para la creación de un guión, Bartzelona, Alba, 2010.
TOLEDANO, G. y VERDES, N. Cómo crear una serie de televisión, Madril, T&B, 2007.
TUBAU, D. Las paradojas del guionista, Bartzelona, Alba, 2007.
VOGLER, C. El viaje del escritor, Bartzelona, Ma non troppo, 2002.
VORHAUS, J. Cómo orquestar una comedia, Bartzelona, Alba, 2005.