plantilla de las asignaturas (anexo iii)
Transcripción
plantilla de las asignaturas (anexo iii)
UNIVERSITY CENTRE EUSA ATTACHED TO THE UNIVERSITY OF SEVILLE ACADEMIC COURSE: 2016-2017 DEGREE: DEGREE IN AUDIOVISUAL COMMUNICATION 1. GENERAL DETAILS OF THE SUBJECT Name: Level: INTRODUCTION TO FILM-MAKING Second Term: First Type: Basic Credits (LRU / ECTS): 6 Year: 2010 Compulsory Theoretical credits: 3 Elective subject Practical credits: 3 Lecturer: Juan José Vargas Iglesias E-mail: [email protected] 2. DESCRIPTION The subject Introduction to Film-Making establishes the theoretical and practices basics that allow the student to face the creative side of the film-making as a creative process. This will work from the basic conceptualization to the final cut. During the classes, they will learn and apply these principles to create a short film. They will start writing the screenplay, and they will do all the process that has to be made: preproduction, recording and postproduction. Technically, the students will learn how to use digital cameras, to manipulate sound recording devices and the basics of software of screenwriting and film editing. 3. SITUATION PREVIOUS KNOWLEDGE AND SKILLS: Since the subject is wholly developed in English, students must have enough command of this language to follow the lessons, as well as the learning and evaluation activities. RECOMMENDATIONS: Access to Internet connection and portable devices (tablets, laptops) is recommended. It can be useful to have a video camera or a DSLR camera. ADAPTATION FOR STUDENTS WITH SPECIAL NEEDS (FOREIGN STUDENTS, STUDENTS WITH SOME KIND OF DISABILITY) The subject will be adapted to the curricular needs of students with some disability, considering their difficulties with note-taking, doing exams, carrying out practical activities, and taking part in complementary activities. 4. SKILLS SPECIFIC SKILLS 1) Knowledge about different stages of the audiovisual process, the cast and the crew. 2) Ability to write and talk according to the professional way for describing pictures in motion. 3) Domain of the technical lexical. 4) Utilization of the screenplay as a tool for work and sale. Pág. 1 www.eusa.es 5) Domain of the basics of light and sound. 6) Utilization of the professional software. 7) Ability to analyze the story and decide which point of view is going to be the most interesting. TRANSVERSAL GENERIC SKILLS 1) Learning of general basic knowledge. 2) Ability to analyze and synthesize. 3) Research skills. 4) Critical and self-critical skills. 5) Ability to apply theory to practice. 6) Ability to recover and analyze information from different sources. 7) Ability to generate new ideas. 8) Ability to communicate with experts in other fields. 9) Ability to work in an international context. 10) Ethical commitment. 11) Oral and writing expression This set encompasses cognitive, instrumental and attitudinal competences and skills. 5. OBJECTIVES OBJECTIVES The general teaching object of this subject is getting the students to develop an audiovisual product, no matter it would be fiction, documentary or poetic. Also, Introduction to Film-Making answers to a series of subordinate specific objectives, either theoretical, practical or attitudinal: SPECIFIC OBJECTIVES Specific theoretical objectives 1) Knowing which are the different jobs in a movie. 2) Gaining comprehensive knowledge of diverse theoretical approaches to the study of screenwriting. 3) Analyzing the conditions that determine the nature of shots: types of shots, composition, etc. 4) Discovering the use of the sound as a tool to tell the story and express feelings. 5) Specifying both the professional devices and the software, and how to recycle the previous knowledge every time that the technology evolves. Practical objectives 1) Providing graduate students of Audiovisual Communication with skills that enable them to develop their post-graduate academic and/or professional options successfully. 2) Awakening audiovisual creativities in the students so they can explore them. 3) Developing a work process according to the way of doing it in the film business. 4) Gaining the skills required to analyze the reality as it is going to be changed when the student films it. 5) Emphasizing the preproduction process as the key part to a successful Film-Making. Attitudinal objectives 1) Developing attitudes of respect towards others’ expressions, as well as tolerance and openmindedness to other cultures’ own manifestations. 2) Developing the active listening and other leadership capabilities. 3) Discovering the virtues of the collective creation in relation with individual creation, specially as a key element of the film-making. Pág. 2 www.eusa.es 4) Realizing the importance of the films as their messages can be felt and listened by a lot of people and how the filmmaker has the responsibility of this message. 6. METHODOLOGY AND TEACHING TECHNIQUES METHODOLOGY There will be used two main methodologies to the theoretical part: master classes and case studies. They will be supported by the use of the debates, lectures and digital presentations, and also through the basic and specific bibliographies recommended by the teacher. These digital materials, exclusively elaborated by the teacher, will be at the students’ disposal for their use as guides during the lectures. These materials will be available to the students via the EUSA virtual learning platform, as well as any other ways, which may be considered safe and efficient to this goal. Students must be aware that these digital presentations, by themselves, do not replace the following of the lectures with interest and spirit of participation. Instead, this visual material attempt to offer the results of synthesis and ordering of theories, models, and analysis methodologies in an agile and efficient way, especially because the object studied by this subject is visual image itself. These didactic materials may be complemented with some related videos. TEACHING TECHNIQUES Master class and discussion Visits and trips Tutorial session Reading test Practical lessons Others: Real cases introduced by professionals 7. LIST OF TOPICS 1. The Concept of the Direction. 1.1. Definition. The work and the technical and artistic processes. 1.2. The production process. 1.3. The teams and their relationship with direction. 2. The Script. 2.1. Conflict and drama. 2.2. The attention time. 2.3. Script structures: classic, waving and falling. 2.4. The scripting work. 2.5. The step outline (escaleta). 2.6. The screenplay (guión literario). 2.7. The breakdown (desglose). 2.8. Other technical documents: the shotlist, the sketches and the storyboard. 2.9. The cutting script. 3. Shot composition 3.1. Choosing the camera: the aspect ratio. 3.2. Types of shots: frame, angle and incline. Pág. 3 www.eusa.es 3.3. Continuity and Match cut. 3.4. The 180-degree rule. 3.5. The 180-degree rule difficulties: trips, chases, vehicle movements, etc. 3.6. The camera movements. 3.7. The shapes and the composition. 3.8. The golden ratio. 3.9. Off-space. 4. Lighting 4.1. Light and colour: additive and subtractive colour mixing. 4.2. Sensitivity, aperture and exposure. 4.3. The main camera formats and how they react to lighting. 4.4. Lighting devices. 4.5. Lighting basics: The three-point lighting. 4.6. The expressive and narrative use of lighting. 5. The Sound. 5.1. Elements of the Soundtrack. 5.2. Sound perspective and sound frames. 5.3. Microphone basics. 5.4. Foley and Wildtracks. 6. Edit. 6.1. Assembling the story: The edition. 6.2. Edition and montage. 6.3. The mechanical working of the edition. 6.4. The duration of the shots. 6.5. Punctuation marks: the transitions. 6.6. The edition using computer. 8. REFERENCES SPECIFIC Lesson 1: BARROSO, Jaime (2008): Realización audiovisual. Madrid. Síntesis. CHION, Michel (1996): El cine y sus oficios. Madrid. Cátedra, Signo e imagen. SIMPSON, Robert S. (1999): Manual práctico para producción audiovisual. Barcelona. Gedisa. Lesson 2: EPSTEIN, Alex (2006): Crafty TV writing. Thinking inside the box. New York (Estados Unidos). Holt Paperbacks. FIELD, Syd (1984): Cómo mejorar un guión. Madrid. Plot ediciones. Pág. 4 www.eusa.es MCKEE, Robert (2011): El guión. Sustancia, estructura, estilo y principios de la escritura de guiones. Barcelona. Alba editorial, Albaminus. VOGLER, Christopher (2002): El viaje del escritor. Barcelona. Robinbook, Ma non troppo. Lesson 3: ARNHEIM, Rudolf (1995): Arte y percepción visual. Madrid. Alianza, Alianza forma. MILLERSON, Gerald (2002): Cómo utilizar la cámara de vídeo. Barcelona. Gedisa, Serie multimedia/vídeo. SÁNCHEZ, Rafael C. (2006): Montaje cinematográfico. Arte en movimiento (segunda edición). Buenos Aires (Argentina). La crujía ediciones, Aperturas. Lesson 4: ARNHEIM, Rudolf (1995): Arte y percepción visual. Madrid. Alianza, Alianza forma. BROWN, Blain (1992): Iluminación. En Cine y Televisión. Guipuzkoa. Escuela de cine y vídeo. MILLERSON, Gerald (2002): Cómo utilizar la cámara de vídeo. Barcelona. Gedisa, Serie multimedia/vídeo. PAREJA CARRASCAL, Emilio (2005): Tecnología actual de televisión. Madrid. Instituto Oficial de Radio Televisión, RTVE. Lesson 5: CHION, Michel (2008): La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. Barcelona. Paidós, Paidós Comunicación. IGNASI CUENCA, David y EDUARD GÓMEZ, JUAN (2005): Tecnología Básica del Sonido I (6ª edición). Madrid. Paraninfo. IGNASI CUENCA, David y EDUARD GÓMEZ, JUAN (2006): Tecnología Básica del Sonido II (4ª edición). Madrid. Paraninfo. Lesson 6: CHION, Michel (2008): La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. Barcelona. Paidós, Paidós Comunicación. MURCH, Walter (2003): En el momento de un parpadeo: un punto de vista sobre el montaje cinematográfico. Madrid. Ocho y medio. REISZ, Karel y MILLAR, Gavin (2003): Técnica del montaje cinematográfico. Madrid. Plot ediciones. SÁNCHEZ, Rafael C. (2006): Montaje cinematográfico. Arte en movimiento (segunda edición). Buenos Aires (Argentina). La crujía ediciones, Aperturas. GENERAL ASCHER, Steve y PINCUS, Edward (2007): The filmmaker’s handbook. A comperhensive guide for the digital age (third edition). New York (Estados Unidos). Plume, Penguin Group. CARMONA, Ramón (1996): Cómo se comenta un texto fílmico. Madrid. Cátedra, Signo e imagen. CASTILLO, José María (2004): Televisión y lenguaje audiovisual. Madrid: Instituto Oficial de Radio Televisión, RTVE. MILLERSON, Gerald (2001): Realización y producción en televisión (4ª Edición). Madrid: Instituto Oficial de Radio Televisión, RTVE. OTHER SOURCES OF INFORMATION (URLS) https://www.celtx.com/ Freeware for screenwriting and production work. http://www.cinematography.com/ Forum of cinematographers. http://www.grupokane.com.ar/ Interesting section Encuadres>Ensayos&Dossiers. http://www.imdb.com Internet Movie DataBase. Pág. 5 www.eusa.es 9. ASSESSMENT CRITERIA In general, all of the theoretical and practical activities developed during the course may be used to evaluate students insofar as they inform about the acquisition of knowledge and skills. In any case, evaluation of the degree to which each student has assimilated an integrated knowledge about visual image and progressed through the learning of the different subjects and the realization of practical activities will be made essentially through the following systems OPTION A Attendance (> 75%) Attitude Tests and other exercises of film-making Theoretical exam 1 point 1 point 4 points 4 points OPTION B Attendance (< 75%) Final exam + exercises of film-making 10 points 10. TEACHING ACTIVITIES ECTS Lessons (6 * 10) Students´ work (6 * 15) TOTAL (6 * 25) Theoretical sessions Lessons Week 1ª Week 2ª Week 3ª Week 4ª Week 5ª Week 6ª Week 7ª Week 8ª Week 9ª Week 10ª Week 11ª Week 12ª Week 13ª Week 14ª Week 15ª Week 16ª Week 17ª Week 18ª Week 19ª Week 20ª 3,0 2,0 2,0 2,0 1,0 2,0 1,0 2,0 1,0 2,0 1,0 1,0 1,0 1,0 1,0 1,0 Horas Totales (A) 24 Students´ work 0,0 1,0 1,0 1,0 1,0 2,0 2,0 1,0 2,0 2,0 2,0 3,0 1,0 3,0 3,0 3,0 (B) 28 60 90 150 Practical sessions Lessons 1,0 1,0 1,0 1,0 2,0 1,0 2,0 1,0 1,0 1,0 1,0 0,0 1,0 0,0 0,0 1,0 (C) 15 Students´ work 0,0 1,0 1,0 2,0 1,0 1,0 1,0 1,0 0,0 2,0 0,0 2,0 3,0 Activity Exams Nº Length Students´ work 1 1 2 2 3 2 3 3 3 3 3 3 3 3 1,0 1,0 1,0 1,0 1,0 1,0 1,0 2,0 1,0 2,0 1,0 2,0 1,0 1,0 2,0 1,0 1,0 1,0 2,0 2,0 3,0 3,0 3,0 3,0 3,0 4,0 4,0 4,0 4,0 3,0 (D) 15 (E) 19 (F) 41 Exams Students´ work Units 1 1 2 2 2 3 3 3 3 4 4 5 5 6 6 6 2,0 6,0 (G) 2 (H) 6 TOTAL 150,0 Activities Nº 1 Description Diaporama - Story Board Pág. 6 www.eusa.es 2 3 4 5 6 7 8 Screenplay Shortfilm Organization Theoretical and practical lessons (A)+(C) Activities developed in the class (E) Exams and test (G) Attendance Study (theory and practice) (B)+(D) Preparation of the activities (F) Study for exams (H) Students´ work 39 19,0 2 60 43 41,0 6 90 TOTAL (STUDENTS´ WORK) 150 Pág. 7 www.eusa.es