58114 Fictions: Storytelling, Narrative and Drama
UTS: Communication: Creative PracticeCredit points: 8 cp
Result Type: Grade, no marks
Requisite(s): 58113 Exploring Media Arts
These requisites may not apply to students in certain courses.
There are also course requisites for this subject. See access conditions.
Handbook description
This subject is an exploration of narrative storytelling and drama in media. Students are introduced to narrative forms in media including concepts of structure, suspense and drama along with scriptwriting for narrative works. Student learning in this subject focuses on ways of working with the interplay between visual and aural style, and performance and narrative form across a variety of media. Assessment tasks include writing concept documents for media projects, group narrative exercises and online reflection and self and peer feedback.
Subject objectives/outcomes
At the completion of this subject, students are expected to be able to:
- produce narrative media works
- collaborate effectively with peers and others
- reflect on their own practice
- manage their time effectively
Contribution to graduate profile
This subject makes a major contribution to the students' capacity to:-
apply their knowledges and skills in media production, to manage projects and evaluate their own work. In addition it makes a minor contribution to the students' capacity to work collaboratively and communicate effectively.
Teaching and learning strategies
The subject is delivered in lecture/tutorial/workshop mode.
The lecture program is an audiovisual presentation for providing a focus for examining ideas, concepts and creative practices in the Media Arts. The tutorial component is the venue for discussion, critique and development of projects. It is also the place for debriefing and feedback on work produced and are used to introduce technical and workshop activities. The workshops allow students to gain basic technical proficiency with camera, lighting, sound and editing technology and convergent media softwares through short academically directed activities.
Content
- Narrative and dramatic form
- Scriptwriting skills for a variety of media
- Narrative and hypertextuality
- New media structure and aesthetics
- Directing skills and other crew roles
- Visual style and sound style
- Performance
- Production management
- Sound and music techniques
- Narrative drama film and video techniques
- New media techniques
- Principles of the collaborative process
- Principles of lighting and editing
Assessment
Assessment item 1: Concept Document/Script
| Objective(s): | a, d |
| Weighting: | 30% |
| Task: | Students, working individually, will develop a concept document or script for a short narrative drama working across moving image, sound and new media. |
| Assessment criteria: |
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Assessment item 2: New Media Exercise
| Objective(s): | a |
| Weighting: | 40% |
| Task: | Working individually, students complete a new media exercise integrating still images, text, animation, audio and interactivity into an original Flash interface. The exercise works in tandem with the concept document for Assessment item 1 and represents a deeper exploration of themes, characters or storylines. All completed works must carry the credit 'Made at the University of Technology, Sydney (year)'. |
| Assessment criteria: |
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Assessment item 3: Group Narrative Film/Video Project
| Objective(s): | a, b |
| Weighting: | 30% |
| Task: | In groups, students make a 3-5 minute film or video drama work using a script previously written for the class and agreed by their lecturer, OR a script provided by the lecturer. The project must be completed to fine cut stage with a completed sound mix and must use some sync sound dialogue. All completed works must carry the credit 'Made at the University of Technology, Sydney (year)'. |
| Assessment criteria: |
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Minimum requirements
Submission of all three assessment items and completion of in class exercises.
Submission of a minimum of four posts in the student's ePortfolio blog on UTS Online.
A pass in the Lighting Safety Test.
Attendance is important in this subject because it is based on a collaborative approach which involves essential workshopping and interchange of ideas with other students and the tutor.
Students who fail to attend 85% of classes may be refused permission to have their final assessment item assessed (see Rule 3.8). An attendance roll will be taken at each class. Where possible, students should advise the tutor in a timely manner if they are unable to attend.
Students will submit a Student Project Approval Form in which they identify risks, research current industry best practice and undertake to adhere to the safe work practices associated with their project.
Required text(s)
Bordwell, D. & Thompson, K. 2001, Film Art. An Introduction, 6th edition, Alfred A Knopf, New York.
Indicative references
Adler, S. 1998, The Technique of Acting, Bantam Books.
Aronson, L. 2000, Scriptwriting updated: new and conventional ways of writing for the screen, North Ryde, N.S.W.: Australian Film Television & Radio School; St. Leonards, N.S.W.; Allen & Unwin.
Bergman I. 1994, Images, Arcade publishing.
Billups, S. 2001, Digital Moviemaking The Filmmaker's Guide to the 21st century, Focal Press.
Bordwell, D. 1985, Narration in the fiction film, Madison, Wis.: University of Wisconsin Press.
Chekhov, M. 1953, To the Actor, Harper and Row, New York.
Dancyger, K. 1993, The technique of film and video editing, Focal Press, Boston.
Dancyger, K. 2002, Alternative scriptwriting: successfully breaking the rules, Boston, MA: Focal Press.
Dancyger, K. 2006, The director's idea: the path to great directing, Oxford: Focal.
Deleuze, G. 2005, The Movement Image. London: Continuum.
Gillezeau, M. & Parsons, N. (eds.) 2004, Hands on: a practical guide to production and technology in film, TV and new media. Sydney: Currency Press.
Holman, T. 2002, Sound for film and television. Boston, Mass: Oxford: Focal Press
Katz, S. 1991, Shot by Shot Film Directing: Visualising from Concept to Screen. Michael Wiese productions.
Katz, S. 1997, Film Directing: Cinematic Motion Michael Wiese productions, Michigan.
Lumet, S. 1995, Making Movies Alfred A. Knopf.
Mamet, D. 1991, On Directing Film. Faber & Faber, London.
Murch, W. 1992, In The Blink of an Eye AFTRS, Sydney.
Proferes, N. 2004, Film Directing` Fundamentals Focal Press, Oxford.
Rabiger, M. 1997, Directing: Film Techniques and Aesthetics 2nd Ed Focal Press, Boston.
Reich, W. 1945, Character Analysis, Touchstone.
Tarkovsky, A. 1986, Sculpting in Time, University of Texas Press, Austin.
Vineyard, J. 2000, Setting Up Your Shots Great Camera Moves Every Filmmaker Should Know, Michael Wiese Productions, Studio City CA.
Weis, E. & Belton, J. (eds.) 1985, Film Sound: Theory and Practice. Columbia University Press, New York.
Weston, J. 1996, Directing Actors, Michael Weise Productions, Michigan.
Wheeler, P. 2001, Digital Cinematography, Focal Press.
