CDM 404 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Fiction Film Studio

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 404	Fall/Spring	2	2	3	5

Prerequisites

CDM 232 To succeed (To get a grade of at least DD)

Course Language

English

Course Type

Elective

Course Level

First Cycle

Mode of Delivery

-

Teaching Methods and Techniques of the Course

Discussion
Q&A
Application: Experiment / Laboratory / Workshop
Lecture / Presentation

National Occupation Classification

-

Course Coordinator

-

Course Lecturer(s)

-

Assistant(s)

-

Course Objectives	This course aims to give the students the specialized skills needed to act as a film director on a film set.
Learning Outcomes	The students who succeeded in this course; articulate the role of stylistic and aesthetic features of film language, describe the necessary steps for a film director to complete a film project, from prep to post, manage a collectively working film crew plan a layout for placing the actors in a scene express her/himself in terms of camera placement and composition to the crew members through storyboard frames describe the major role and responsibilities of a director in film production.
Course Description	This course focuses on the role, craft and skills that are necessary for a film director. Evaluation will be based on studio critique, assignments and projects.
Related Sustainable Development Goals

Course Category	Core Courses
	Major Area Courses
	Supportive Courses	X
	Media and Management Skills Courses
	Transferable Skill Courses

Week	Subjects	Related Preparation
1	Introduction to the course	Short films screening
2	Script Development Dramatic writing - Characterization - Story Arch - Conflict - Action vs. Dialogue - Synopsis, Treatment, Screenplay	Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 1 edition, “Part 2: Elements of Story”, p. 31 -79
3	Basics of Dramatic Structures The “Freytag pyramid” - Basic Types of Conflict - Traditional Dramatic Structures: Five Plot Points - Objectives, Motivations and Obstacles - Diegesis - Character Building - Plot and Character-driven Storytelling Techniques - Dramatic Arch and Latent Expectations	Mike Figgis, The 36 dramatic situations for film Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 1 edition, “Part 2: Elements of Story”, p. 79 -135
4	Pitching Session - In-Class Presentation	Synopsis Assignment Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 1 edition, “Part 3: The Principles of Story Design”, p. 135 - 303
5	Scriptwriting and Film Language Shot/Scene/Sequence - Shot sizes - Framing - Camera Angles - Color and Contrast - Sound Design - Rhythm and Pace - Narrative Space - Visualizing the Action - Action/ Re-Action - Blocking and Camera Movements - Continuity - Lighting	David Bordwell and Kristin Thompson, Film Art: An Introduction, “Chapter 3: Narrative as a Formal System” Treatment Assignment
6	Preproduction I : Working with the Actors Audition - Casting - Working with non-actors and actors - methods and rehearsals - Production Planning - Production Crew Functions and Organization	David Bordwell and Kristin Thompson, Film Art: An Introduction, “Chapter 4: The Shot: Mise-en-Scene” First draft of the Script Assignment
7	Preproduction II: Working on the Script Script Breakdown - Lined Script - Color Coding - Stripboard - Storyboard - Location Scouting	David Bordwell and Kristin Thompson, Film Art: An Introduction, “Chapter 4: The Shot: Cinematography”
8	Production Dossier Presentation and Discussion	Assignment: Production Dossier
9	Production I Raw Footage Presentation, Analysis, and Discussion
10	Production II Raw Footage Presentation, Analysis, and Discussion	Raw Footage Assignment
11	Post-Production I Rough Cut Scenes Presentation, Analysis, and Discussion
12	Post-Production II Rough Cut Scenes Presentation, Analysis, and Discussion - Sound Design	Rough Cut Assignment
13	Post-Production III Fine cuts Presentation and Discussion - Audio Sweetening - Color Grading
14	Publicity Film Festivals and Circulation - Promotion Materials - Posters, Press releases and Stills
15	Final Cuts Presentation - Jury	Final Project and Promotion Plan Assignment
16	Review of the Semester

Course Notes/Textbooks

Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting,

ReganBooks; 2005 ISBN: 978-0413715609

David Bordwell and Kristin Thompson, Film Art: An Introduction, University of Wisconsin Press, 2010 ISBN: 978-0-07-338616-4

Suggested Readings/Materials

Mike Figgis, The 36 dramatic situations for film, Faber & Faber, ISBN: 978-0571305049

Semester Activities	Number	Weigthing
Participation	1	10
Laboratory / Application	1	15
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments	1	35
Presentation / Jury	1	20
Project	1	20
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade	3	60
Weighting of End-of-Semester Activities on the Final Grade	2	40
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	2	32
Laboratory / Application Hours (Including exam week: '.16.' x total hours)	16	2	32
Study Hours Out of Class	10	2	20
Field Work			0
Quizzes / Studio Critiques			0
Portfolio			0
Homework / Assignments	4	10	40
Presentation / Jury	1	12	12
Project	1	14	14
Seminar / Workshop			0
Oral Exam			0
Midterms			0
Final Exam			0
		Total	150

#	Program Competencies/Outcomes	* Contribution Level
#	Program Competencies/Outcomes	1	2	3	4	5
1	To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.	-	-	-	-	X
2	To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.	X	-	-	-	-
3	To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.	-	-	-	-	-
4	To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.	-	-	-	-	-
5	To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.	-	-	-	X	-
6	To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.	-	-	-	-	-
7	To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.	-	-	-	-	-
8	To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.	-	-	-	-	-
9	To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments.	-	-	-	-	-
10	To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.	-	-	-	-	-
11	To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).	X	-	-	-	-
12	To be able to use a second foreign language at the medium level.	-	-	-	-	-
13	To be able to connect the knowledge accumulated throughout human history to the field of expertise.	-	-	-	-	-