52650 Screen Story
Warning: The information on this page is indicative. The subject outline for a
particular session, location and mode of offering is the authoritative source
of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.
Subject handbook information prior to 2024 is available in the Archives.
Credit points: 6 cp
Result type: Grade and marks
Requisite(s): 12 credit points of completed study in spk(s): MAJ09477 48cp Writing and Publishing Major OR 52651c Exploring Media Arts
The lower case 'c' after the subject code indicates that the subject is a corequisite. See definitions for details.
These requisites may not apply to students in certain courses. See access conditions.
Anti-requisite(s): 54073 Genre Writing
Description
This subject explores the fundamental principles that underpin stories written for the screen. It introduces students to the common theories that animate the way we devise and consume contemporary screen stories. Early sessions investigate and reflect on how theoretical concepts developed for earlier forms of literature have evolved to address a range of screen formats, each with their own specific needs. In later sessions, through working on their own screen stories, students begin to engage with the complex ethical, moral and philosophical considerations that arise when navigating the issues around who can tell whose stories on screen. Students develop their understanding of screen story in its many forms through practice-based exercises, further enhancing their skills via tutor and peer feedback.
Subject learning objectives (SLOs)
| a. | Explore and analyse a range of screen story theories and formats. |
|---|---|
| b. | Analyse and write about screen story in a scholarly way. |
| c. | Consider and apply ethical frameworks to screen story development. |
| d. | Apply audio-visual storytelling techniques. |
| e. | Investigate the protocols and practices used to tell Indigenous screen stories. |
Course intended learning outcomes (CILOs)
This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:
- Act in a professional manner appropriate to communication industries (1.1)
- Apply theoretically informed understandings of communication industries to independent and collaborative projects across a range of media (1.2)
- Employ appropriate research and inquiry skills to independently gather, organise and analyse information across diverse platforms (2.1)
- Act as reflexive critical thinkers and innovative creative practitioners who evaluate their own and others' work (2.2)
- Apply knowledge of Indigenous issues in professional practices and engage responsibly in communicating with and about Indigenous people and communities (4.1)
- Analyse and act ethically in the personal, political and professional contexts of civil society (5.1)
- Exemplify effective and appropriate communication in different communication industry contexts (6.1)
Teaching and learning strategies
This subject is delivered through engagement with online content and on campus seminars. The online content program, delivered via curated short instructional videos, readings and discussions prior to attending class, contextualises key concepts (theoretical and practical) that have shaped the way we craft stories for the screen. Seminars are the venue for activities that apply the knowledge that students have acquired online. Seminar activities include student presentations, discussions of in-class screenings and creative practice exercises. From the start of session students complete a range of in-class exercises, receiving formative feedback from their tutor and peers. This feedback scaffolds the assessments.
Content (topics)
This subject provides students with opportunities to explore the fundamentals of screen narrative in its many forms. As the subject progresses, the focus shifts from the theories that underpin screen story to broader ethical and cultural sensitivities around screen story development and the context of contemporary professional practices in this field.
Theoretical frameworks addressed in this subject include the ways in which screen dramatists have come to understand and apply the core principles of character, structure, plot and theme to the creation of audio-visual works. Additional topics covered include three act structure; alternative approaches to screenwriting; access, equity and representation in screen story; visual storytelling principles; script development practice; and identifying market and audience. The screen story formats addressed in this subject include short films, features, drama and non-fiction series, documentaries, VR and games. The subject also provides students with the opportunity to consider the protocols and processes that govern how the Australian screen industry works respectfully and ethically with Indigenous culture, creatives, and communities.
Assessment
Assessment task 1: Quiz
| Objective(s): | e | ||||||||
|---|---|---|---|---|---|---|---|---|---|
| Weight: | 15% | ||||||||
| Length: | 10 minutes | ||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Script Analysis
| Objective(s): | a and b | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 35% | ||||||||||||||||||||
| Length: | 1400 words (submitted as a pdf) | ||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 3: Short Screenplay and Writer’s Statement
| Objective(s): | a, c and d | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 50% | ||||||||||||||||||||||||
| Length: | 6 pages for the screenplay 500 words for the writer's statement 100 words of written feedback for peers, per assigned project | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
Attendance at classes is essential in this subject. Classes are based on a collaborative approach that involves essential workshopping and interchange of ideas with other students and the tutor to build capacities towards meeting the subject learning objectives. A roll will be taken at each class (whether on campus or online). Students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8).
Required texts
There are no required texts for this subject.
References
Theory
Aronson, L. (2011). The 21st Century Screenplay. Allen & Unwin.
Attersby, B. (2014), Stories about stories: fantasy and remaking of myth, Oxford University Press
Cooper, P & Dancyger, K.(2012), Writing the Short Film. Focal Press.
Campbell, J. (2008), The Hero with a Thousand Faces (The Collected Works of Joseph Campbell), Novato.
Dancyger, K. & Rush. J.( 2013), Alternative scriptwriting: Beyond the Hollywood formula, Focal Press
Field, S. (2005) Screenplay: The Foundations of Screenwriting. Bantam Dell.
Haag, H.R, & Cole, J., (1980), The Complete Guide to Standard Script formats: part 1, CMC
Mernit, B. (2001) Writing the Romantic Comedy, Harper Perennial
Millard, K. (2014) Screenwriting in a digital era, Palgrave Macmillan
Munt, A. & Ross, M. (2018), ‘Cinematic Virtual reality: towards the spatialised screenplay’, Journal of Screenwriting, Vol 9
Vargas, E., (2012) Immersive Storytelling, Final Draft, Los Angeles
Vogler, C. (2007) The Writers Journey: Mythic Structure for Writers, Michael Wiese Productions.
Yorke, J. (2013) Into the woods: a five act journey into story. Overlook Press.
Other resources
Films and Television shows
Barbie (2023)
Fleabag (2016)
Finding Nemo (2003)
Saltburn (2023)
Ted Lasso (2020)