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.
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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.
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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.
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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.
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 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)

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

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.
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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
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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
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