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Topics in Media Writing (360-0-27)

Topic

Writing Innovative Chronologies (Film/TV)

Instructors

David E. Tolchinsky

Meeting Info

Annie May Swift Hall 109: Wed 3:00PM - 5:50PM

Overview of class

This course will investigate films and television shows that don't follow a single standard chronology but instead have innovative approaches to chronology: Time that runs backward. Looping time. Time that extends. Time that speeds up. Two time periods that are tracked simultaneously. Two times that slowly or quickly. Elliptical time. Ambiguous/unclear time. Our questions: How does the treatment of time reflect the story's theme and deepen the terrain being explored? Do such works still adhere to a four-act structure or hero's journey structure, even though that structure might be manipulated or hidden? Or does each work have a unique design that resists reference to more conventional screenplay structures? How do time experiments work differently in drama, comedy, or horror/science fiction? Is there a reason that more films/tv shows appear to be experimenting with time? Or have there always been such experiments? If 4-act and hero's journey structures are often criticized for being male/heterosexual, can other treatments of time offer paths to (better) representing different genders and sexual orientations? What are the challenges for a screenwriter in creating such a work? What might be the benefits be? What treatment of time hasn't been attempted that you might try in your screenplay or teleplay?


We'll reference such works as Watchmen (TV), A Ghost Story, The Others, Groundhog Dog, Run Lola Run, Moonlight, Irreversible, Incendies, This is Us, Eternal Sunshine of the Spotless Mind (and other Charlie Kaufman works), (500) Days of Summer, Arrival, Beforeigners, Russian Doll, Pulp Fiction (and other Tarantino works), Carol, Peppermint Candy, 12 Years a Slave, the Twilight Zone, Memento (and other Christopher Nolan works), True Detective, Looper, Back to the Future, Edge of Tomorrow, The OA, 2001, Sunset Boulevard, the Sweet Hereafter, Rashomon, and Parasite. Your ideas here!

Learning Objectives

By viewing and analyzing scenes and sequences from features and television shows and reading and analyzing passages from screenplays/teleplays, students will learn how the above concepts are utilized to express a personal vision. With the goal of writing and revising their own short screenplay/teleplay, the emphasis throughout will be on the creative use of chronology and how chronology can structure your work in unexpected ways. We will also emphasize character development/function, dialogue/silences/subtext, visualization, visual metaphor, and the development of a unique tone.


Throughout, we will ask: Why is the story you're telling vital to you and maybe to the world? Why have you chosen this non-conventional form in which to express it?

Teaching Method

Lectures, reading assignments, discussion, in-class viewing of short films and selected film/TV clips, inclass reading and analysis of screenplays, and workshop of student assignments. Above all else, the environment will be a supportive one, and students will be encouraged to participate in a community marked by an atmosphere of collaboration.


Writing assignments are arranged to mirror our in-class discussions, culminating in completing a 20-30 page screenplay or teleplay, which illustrates an understanding of those concepts. Graduate students will be encouraged to take on additional assignments and write a longer final work.

Evaluation Method

Grades will be based on the breakdown below (although I reserve the right to adjust this as I develop the syllabus).


OBJECTIVE

Attendance 10%

Professionalism 5%

Progress 5%


ANALYSES

4 1-2 page papers or visualizations representing and/or analyzing chronologies (or other aspects of these works) in a different tv show/film. To be determined. 20%

A presentation (solo or with a partner) about a film, TV show, or reading, that itself experiments with time. Too slow? Too fast? Reversed? How does your presentation reflect that theme of the movie or reading that you're analyzing? 10%


SCREENWRITING/TELEPLAY

1 short screenplay/teleplay (3-10 page range TBD) 10%

An outline for your longer work including a graph/drawing of how chronology is organized 10%

Final 20-30 page screenplay/play/teleplay 30%

Class Materials (Required)

Two texts TBD, plan on no more than $75 total and probably less.

Other readings available via course reserves.

A working computer, NU email/account, word processing program (ideally Final Draft, but however you can get your work to look like a screenplay or teleplay).

Class Materials (Suggested)

Screenings will mostly be via course reserves, but it would be helpful to have a streaming service such as Netflix, iTunes, or Amazon Prime so you can stream current TV shows.


Talk to me if internet, space, or streaming is a problem.


Consider acquiring one or more general screenwriting/playwriting books, including a book that explains conventional structures like 3-act, 4-act, and hero's journey. And also explains the process of revising. I can make recommendations.


Also, McKee's Dialogue is an excellent resource for a deep dive into dialogue.

Enrollment Requirements

Enrollment Requirements: Students must have completed RTVF 260-0 in order to register for this course (concurrent registration is not allowed) Students must have completed RTVF 260-0 in order to register for this course (concurrent registration is not allowed)