Script Analysis 1
|311SA1||Z||3||3 hours (45 min) of instruction per week, 48 to 63 hours of self-study||English||winter and summer|
Name of lecturer(s)
Learning outcomes of the course unit
By the end of the course students will:
-become familiar with structure, narrative and story element, such as character, theme, setup, main tension, central dramatic question, antagonist, conflict, the three act structure and its development as well as its functional deviations; techniques and specific issues of film writing and narration, difference between dramatic and literary storytelling etc
-recognize dramatic and narrative elements mentioned above
-present a cogent analysis for a final paper
Mode of study
Screening + lecture and discussion. Each film is screened in full length, accompanied by close analysis by the lecturer, while students are also encouraged to provide their input.
Prerequisites and co-requisites
The purpose of this course is to study films from a dramaturgical perspective, to demonstrate diverse narrative techniques, dramatic structures and genre forms, and to closely examine the craft of screenwriting, with special attention given to characters’ dynamics and development.
- Taxi Driver (USA, 1976, dir. Martin Scorsese, written by Paul Schrader)
- The Graduate (USA, 1967, dir. Mike Nichols, written by Calder Willingham and Buck Henry, based on the eponymous book by Charles Webb)
- The Full Monty (UK, 1997, dir. Peter Cattaneo, written by Simon Beaufoy)
- The Crying Game (Ireland, UK, Japan, 1992, written and directed by Neil Jordan)
- The Hunt (Jagten, Denmark, 2012, dir. Thomas Vinteberg, written by Tobias Lindholm and Thomas Vinterberg)
- Breaking Bad – Pilot Episode (USA, 2008, written and directed by Vince Gilligan)
Recommended or required reading
ARISTOTLE, ELSE, Gerald F. Poetics. 1st ed. Ann Arbor, MI: University of Michigan Press, 1967. 124 s.
ARONSON, Linda: The 21st Century Screenplay: A Comprehensive Guide to Writing Tomorrow's Films. Los Angeles: Silman-James Press, 2011. XIX, 490 s.
BORDWELL, David. Narration in the fiction film. Madison: University of Wisconsin Press, 1985. 370 s. ISBN 0-299-10170-3.
FIELD, Syd. Screenplay : the foundations of screenwriting. New York: Dell Publishing, 1994. 262 s. ISBN 0-440-57647-4
THOMPSON, Kristin. Storytelling in the new Hollywood: understanding classical narrative technique. Cambridge, Mass.: Harvard University Press, 1999. xi, 398 s. ISBN 0-674-83975-7.
In addition, SCREENPLAYS (if available) for the films screened in classes will be provided to students in .pdf and it is strongly recommended that they familiarize themselves with the scripts before the corresponding class.
Assessment methods and criteria
- Attendance + Active participation in class 15%
- Final Paper (see in Moodle) 85%
This course is an elective for all students of this school
Schedule for winter semester 2022/2023:
Room No. 3
once in 2 weeks, start Oct 4
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Tue||11:30–14:45||Lucia KAJÁNKOVÁ||Room No. 3
|once in 2 weeks, start Oct 4||lecture parallel1|
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Academy Preparation Program - Cinematography (optional subject)
- Academy Preparation Program - Animated Film (optional subject)
- Academy Preparation Program - Directing (optional subject)
- Academy Preparation Program - Documentary (optional subject)
- Academy Preparation Program - Editing (optional subject)
- Academy Preparation Program - Photography (optional subject)
- Academy Preparation Program - Screenwriting (required subject, optional subject)
- Academy Preparation Program - Sound (optional subject)
- Production Team Studies (optional subject)