FILM STUDIES

Instructions

As a group or individual, you will develop for the text assigned: 1 screenplay for a scene, movie poster, and a 3 minute movie trailer. Each group member will be responsible for one portion of the assignment. At the end of the assignment, group members will write compose a 1 page typed reflection discussing: their role in the project, explain any shifts from original text, and voice any concerns or suggestions concerning their project. Each group’s members will also grade each other in regards to participation. Your instructor will print final products for display; therefore, your project must be submitted electronically the deadline date as a PDF file.

**If the text has already been developed into a film, any duplication of already published materials will be viewed as plagiarism and treated as such.

Screenplay Guidelines:In the most basic terms, your screenplays should be a 12 to 15-page document written in Courier 12pt font on 8 1/2" x 11" bright white three-hole punched paper. Wondering why Courier font is used? It's a timing issue. One formatted script page in Courier font equals roughly one minute of screen time. That's why the average page count of a screenplay should come in between 10 and 15 pages.

A screenplay can be an original piece, or based on a true story or previously written piece, like a novel, stage play or newspaper article. At its heart, a screenplay is a blueprint for the film it will one day become. Professionals on the set including the producer, director, set designer and actors all translate the screenwriter's vision using their individual talents. Since the creation of a film is ultimately a collaborative art, the screenwriter must be aware of each person's role and as such, the script should reflect the writer's knowledge.

For example, it's crucial to remember that film is primarily a visual medium. As a screenwriter, you must show what's happening in a story, rather than tell. A 2-page inner monologue may work well for a novel, but is the kiss of death in a script. The very nature of screenwriting is based on how to show a story on a screen, and pivotal moments can be conveyed through something as simple as a look on an actor's face. Let's take a look at what a screenplay's structure looks like.

Title Page:

Every film needs a title. If you plan on significantly changing details of the text assigned, you will need to develop your own title for the film. For example of expectation see the example to the left.

The First Page of a ScreenplayWhile screenplay formatting software such as Final Draft, Movie Magic Screenwriter, Movie Outline and Montage frees you from having to learn the nitty-gritty of margins and indents, it's good to have a grasp of the general spacing standards.

The top, bottom and right margins of a screenplay are 1". The left margin is 1.5". The extra half-inch of white space to the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page. The entire document should be single-spaced.

The very first item on the first page should be the words FADE IN:. Note: the first page is never numbered. Subsequent page numbers appear in the upper right hand corner, 0.5" from the top of the page, flush right to the margin.

Screenplay ElementsBelow is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.

Scene HeadingIndent: Left: 0.0" Right: 0.0" Width: 6.0"

A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS.

Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime.

SubheaderIndent: Left: 0.0" Right: 0.0" Width: 6.0"

When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations.

ActionIndent: Left: 0.0" Right: 0.0" Width: 6.0"

The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction.

Remember - only things that can be seen and heard should be included in the action.

CharacterIndent: Left: 2.0" Right: 0.0" Width: 4.0"

When a character is introduced, his name should be capitalized within the action. For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare.

A character's name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example "TAXI DRIVER" or "CUSTOMER."

DialogueIndent: Left: 1.0" Right: 1.5" Width: 3.5"

Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs.

ParentheticalIndent: Left: 1.5" Right: 2.0" Width: 2.5"

A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what's going on with your dialogue, then it probably just needs a good re-write. Second, it's the director's job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's turf!

ExtensionPlaced after the character's name, in parentheses

An abbreviated technical note placed after the character's name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.).

TransitionIndent: Left: 4.0" Right: 0.0" Width: 2.0"

Transitions are film editing instructions, and generally only appear in a shooting script. Transition verbiage includes:

• CUT TO:• DISSOLVE TO:• SMASH CUT:• QUICK CUT:• FADE TO:•As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed.

ShotIndent: Left: 0.0" Right: 0.0" Width: 6.0"

A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely a time when a spec screenwriter should insert shot directions. Once again, that's the director's job. Examples of Shots:

• ANGLE ON --• EXTREME CLOSE UP --• PAN TO –• LIAM'S POV --

Film Poster

Poster Guidelines:

Full Acting Credits Full Production credits Tag line Film Rating Release date Poster image: lined paper

drawings will not be accepted.

Instructions:

1. Read the information about developing film posters.

2. Once you have a clear idea of which of formula of AIDA will be utilized for your project, develop your image.

3. After creating your image, remember to crop it in order to remove any unwanted visuals. 4. Save your image as a .JPEG file. 5. Using Microsoft Word or Publisher, set your page size to 11” x17” paper. 6. Any problems visit your instructor for further instruction.

Information about developing film posters images:

Billion-dollar revenue figures are not all that uncommon today in cinema, placing many major movies alongside companies such as Facebook when it comes to revenue.With so much riding on a film’s success, marketing one is a massive opportunity for creative designers.We’ve looked at some of the most effective film marketing materials out there – the promo posters that have been used on modern releases and older movies – and established some key elements that have contributed to their success.These aren’t just commercial successes either – everything from smaller cult movies to huge blockbusters benefits from these 7 simple movie poster design elements. 1. Attention – jump out from the wall.If there’s one simple sales formula that everyone in

a performance-based position should know, it’s AIDA. The four-step formula – attention, interest, desire, and action – has been used as the basis of thousands of successful movie advertising campaigns.The first step, and the one most important for designers, is attention – grabbing the attention of passers-by and encouraging them to look.This doesn’t have to be achieved with provocative pictures or flashy graphics, although given their advantage at grabbing attention, it’s no wonder Hollywood’s turned to them en masse.By using the film’s characters or a major plot point, designers can establish some level of plot while still gaining the attention of anyone that views the poster.

Check out The Hangover posters above for a classic example. None are particularly beautiful, nor are they real iconic designs, but they’re very effective at getting people to look.The flashy gradient background, head-and-shoulders character pictures (which can improve response rate,) and bright lighting make it difficult not to stare at one of these posters. 2. Iconography – showing without telling.The most effective movie posters are iconic, presenting the themes in the film without resorting to flat out saying what it’s about. They use imagery, whether a close-up of a character or item that’s a major plot point, or a simple graphic, to establish the film’s plot. Combined with an eye-grabbing design, this can be an incredibly effective way to gain attention and create interest at once.

The Jennifer’s Body poster above is a classic example of this, albeit one that borrows quite heavily from True Blood. It uses tactics honed in on by advertisers over the decades – sex appeal, contrast, and spacing – to grab your attention. At the same time, it also gives a glimpse into what the film is about. This allows it to market to casual observers and horror fans at once, all through imagery. When using icons and more abstract imagery doesn’t work with your film – say, for example, it’s a serious drama or a thriller that can’t be explained with iconography – using an image that provides viewers with an idea of the story is a great idea. Many of the best modern film posters use pictures that put the viewer in the middle of a scene from the film, creating tension and a major incentive. The incentive is that in order to resolve the situation, the person looking at the poster needs to see the film and find out what happens.

The Inception poster above uses this strategy – it puts viewers in the middle of a scene from the film that can only be explained by seeing what occurs before and after it. As a result, the curiosity created by the poster translates into on-the-spot ticket sales. This type of design strategy tends to work best

with films that cover unrealistic, fantasy-type events, particularly those that deal with the supernatural or psychological. Since it’s hard to offer insight for this type of story using icons and simple colors, a still from the film can work wonders. 4. Appeal – create desire with fans and non-fans alike. With film studios cranking out comic book adaptations at a rapid pace, it’s the ‘true fans’ that end up last in the marketing line. Studios can rely on them to see their new releases regardless of its review coverage or promotional materials, since chances are fairly strong they’re already aware of it. Great film posters, particularly those for adaptations, use this dual appeal to enhance their advertising. 5. Style – a look that’s consistent with the film. Whether you’re marketing an art film or a blockbuster, style matters. Some of the most memorable film posters out there have used bold, unique artistic styles to their advantage. What separates these posters from their ineffective art-for-art’s-sake rivals is that they’re consistent with style, in both the movie’s promotional materials and throughout the film itself.

The poster for Watchmen is a classic example of this technique succeeding. Since it uses an instantly recognizable comic book style, it grabs the attention of fans of the book. It’s accurate too, using the same type of stylized imagery as the film itself. This consistency means that it isn’t just a great theater-based marketing tool, but a recognizable image for DVD and other releases.

Film TrailerReferences for creating a movie trailer:http://filmmakermagazine.com/37093-first-impressions/#.VeYDniVViko

GROUP CONTRACTPeriod:_________Members

1. _____________________2. _____________________3. _____________________ 4. _____________________

Task List1. Front cover: _____________________2. Screen Play Writer 1: _____________________3. Screen Play Writer 2:_____________________4. Movie Poster 1:_____________________5. Movie Poster 2: _____________________6. Film: _____________________7. Film: _____________________8. Final Editor:______________________

Rough Draft Due Date: _______________________________ (min. 1 full week prior to the due date)

Group ConstitutionForward: This contract is a binding legal document and governs the group until the assigned project deadline. If the group separates, or a member is fired, the basic contract laws remain intact for both parties. However, being fired may cause work responsibilities to shift.

Article I: Absence Policya. If a group member will be absent on a day in which work is due, they must tell another group member a day in advance and have all work that they are responsible for turned in. All group members must stick to the provided agenda to have the assignments completed on time. If there will be an unexpected absence, the group member is to complete the work from home and email another group member to let them know they are gone for the day.b. Group members will contact one another if they are absent for any amount of period during the time allotted for working on the projects. Habitual absences causes unnecessary stress on fellow group members will not be tolerated and consequences for such actions will be left dealt with by the instructor.

Article II: Work Policya. Any member that is mentally or physically disabled and can prove that they cannot complete the work assigned to them alone they may acquire assistance from other group members to help complete it. This will only apply for work that is group work and not individual work, and that group member will only finish work, and the assisting group member will not write it. b. Each group member will work to the best of their ability, making sure to complete the work is up to standards, and that they completed it with punctuality.

c. If a group member commits plagiarism, they are solely responsible and incur the punishment on their own.

Article III: Leadershipa. At the beginning of the project, a leader will be voted upon democratically. If a group member is absent at the time of voting, they waive their right to participate in voting. The person who wins the most votes becomes the leader. If there is an unclear outcome (same number of votes for different people), the group will have no leader until one can be chosen by a revote. b. By being elected leader, the person must perform the following duties:

1. Organize group meetings.2. Create and enforce a group agenda to govern group progress.3. Organize any out of school project efforts.4. Provide communication between group members in order to help individuals work

towards the project goal. If they fail to perform these duties, or another person is also carrying them out, a revote may be taken to determine whether to obtain a new leader.

Article IV: Work Ethicsa. If a group member does not complete work they were assigned, the punishment for the infringement will be of detriment solely to the group member at fault. No negative grading shall be given to any other group members.

b. if any member fails to submit quality work by the rough draft due date will immediately be terminated from their group and will be required to complete the entire project on their own.

Article V: Member Dismissala. The following conducts will result in a group member being able to be dismissed;

i. Incomplete or missing group work.ii. Plagiarism or any form of cheating.iii. Disrespectful and inappropriate behavior will cause for immediate removal from group.iv. Habitual absence causing the rest of the group undue hardship, as determined by the instructor. v. If group member decides to leave under his or her own will.

b. Any group member leaving under their own will be able to submit all their own work, while the other group members may not. Any group member fired for breaking any of the conducts under Article Va (I, ii, iii, and iv). will have their work taken from their possession to be used at the discretion of the original group, but not for the individual being fired. In addition, any fired member may not use any work completed by other group members, subject to punishment under Article 2c.c. If a group member leaves under the stipulation of Article Va (v), they retain all the work they have already provided for the group. The original group cannot use this work or it is subject to punishment under Article 2c. The individual choosing to leave will be required to complete their entire project on their own means.

Article VI: Signature

By signing this contract the following group members abide to the articles above. If any member fails to abide by the articles of this contract, they may be fired from the group given at least a 50% vote in favor of firing the individual.

Project Leader

The group has elected __________________________ as the project leader under Article III.

As group leader, I understand that I am held responsible for my groups’ interactions. I will not allow anyone, including myself, to complete another group member’s assigned task. I understand that my duty is to insure that all group members complete assigned tasks and participate equally. It is my responsibility to inform my instructor of any participant’s lack of work, disrespectful or inappropriate behavior. I understand that if a member of my team does not complete their portion of the project by the rough draft due date, I am responsible to inform my instructor immediately so that consequences may be administered.

Signature of Group Leader

X__________________________________

Signature of group members

X________________________________

X________________________________

X________________________________