Our studio runs Wednesdays 3.30-5.20 in Room 9.2.15 and Thursdays 11.30-2.20 in Room 9.3.12.
Readings, any changes to the teaching schedule, news, information, assessment reminders will all be posted HERE.
Looking forward to exploring the worlds we create over the next 12 weeks!
Hi everyone,
Just wanted to say how proud I was of the presentation yesterday. Showcasing some beautiful work, elegantly articulating our outcomes, and managing to be both playful and professionally slick (and to time!) all at once.
I placed myself where I was in order to record the Q&A, but was so enchanted I forgot!
(If any fellow digital hoarders had their phone out and on video, please share!)
Great to see some of you for a chat afterwards. Fantastic end to a very rewarding studio – thanks so much and please go kick some more ass in Semester 2!
Next time you’ll hear from me will be when the marks are in for the final brief.
Cheers,
Stayci
Hi petals,
I just wanted to remind you that the reflective post as part of Project Brief 4 is designed to do double duty – all students from each studio are required (to quote the guidelines) to “prepare and post a substantial final reflection that considers what they’ve learnt; and critically assesses the studio experience, their own performance and, the success of their film project in relation to the methods employed“.
My cunning plan (as I’ve mentioned) was to build this into the final assessment, rather than set it as an extra task for you.
As I have talked about before, and written about as feedback to many of you for previous briefs, it is always good practice to write for a ‘naive’ reader – and by that I mean, someone who does not know our studio, or our work, so everything you write is aware of giving context to an unknown visitor to your blog.
As if someone could stumble upon your blog (password protections notwithstanding) and enjoy the post in its own right.
Something to think about, perhaps, when revising (or writing!) this final post.
The guidelines above are useful, I think, and are basically a different way of wording the task set. However, to be clear, I will be assessing the post according to the course guide PB4 instructions.
Thanks, everyone, and looking forward to seeing your proofs-of-narrative!
Here it is, as I received it 🙂
Do you want to write about Movies, TV, Anime, Arts, Comics, Games,
Literature or other art forms? Do you want to get your foot in the door
and enter the big-wide world of the online media and have your work read
and shared by millions of readers? We invite you to The Artifice:
http://www.the-artifice.com
The Artifice is an online magazine that covers a wide spectrum of art
forms. We do not run The Artifice, you do. The Artifice is collaboratively
built and maintained by your fellow writers. It is structured to let you
focus on the quality of the content while it deals with the exposure of it
to an audience of millions.
Instead of recycling the same entertainment news stories or publishing
commonplace editorials, The Artifice focus on unique topics that are
intellectually stimulating and meaningful.
Our current writers range from undergraduates, to graduates, to emeritus
professors and a bit of everyone in between.
Grab the opportunity and join our team of writers. Join now:
http://the-artifice.com/write/
…is tomorrow! (Thursday 25 May 11.30)
A REMINDER (and for those who weren’t there) – if you want your work to be part of tomorrow’s great table read bonanza, please email me up to 5 pages by no later than 11am.
Also – today we watched the opening minutes of Withnail and I (1987) and Nightcrawler (2014), as well as reading from the Withnail and I screenplay. PDFs for both are in the Drive – we will briefly continue the discussion tomorrow so familiarise yourselves with those idiosyncratic and, arguably, innovative approaches to screenwriting.
See you tomorrow!
As discussed in today’s studio, I strongly recommend participating – it’s a great festival and this contest, which had its inaugural outing last year, is reportedly excellent. A former student of mine made the cut to pitch live and loved the experience, both for the fun and the learning. Details here.
As budding screenwriters/filmmakers, you may be interested in seeing this micro-budget feature film, an example of a 60-minute feature made for $3600 from a cast and crew of less than 10 (with a reportedly positive response from audiences).
As it advises in the course guide, please copy/paste this Assessment Declaration
I declare that in submitting all work for this assessment I have read, understood and agree to the content and expectations of the assessment declaration.
on the cover page of your written material (as you will on your final post, as you have for those previously submitted for assessment).
But what do I mean by ‘cover page’?
This instructon might mean you design a cover page for your written material, featuring your name, name of project, an image perhaps and, of course, the Assessment Declaration. You might then combine all of your written material into one PDF and upload to your individual student folder, along with any AV.
Or, you might provide me with a series of Google docs, making one of them a cover page with the declaration.
You can discuss options with me.
The course guide quotes filmmaker and scholar Kathryn Millard, who suggests in her book Screenwriting in a Digital Era: “Write for place. Decide on a setting for your script and write for it” (2014, p. 184).
This is actually Number 4 in her ‘Manifesto for sustainable screenwriting”. In consideration of Project Brief 4, I thought I’d draw your attention to Number 10:
“Develop prototypes. Work quick and dirty. Your script can be a map, sketches, photo-texts, a wiki, a list scenes that form part of a jigsaw, a graphic novel, a video trailer, a short film – whatever works” (Millard 2014, p. 184-5).
As discussed in the studio today, also relevant to the ‘proof-of-narrative’ deliverable of Project Brief 4, are the pages on The Scriptment in the Screen Australia document in our shared drive (p. 11-12).
According to Screen Australia, the term ‘scriptment’ “refers to a document that is part script, part treatment, and may include visual materials. It is likely to be a more expanded and detailed document than a treatment or scene breakdown, and incorporate some scene writing and possibly images as well as prose” (2016, p. 10).
Also:
“Scriptments may also be used to showcase important visual aspects of the story, and include illustrations, concept art, photographs etc. They may be more suited to some filmmakers as a way to express their style of storytelling and what will make their project special” (Screen Australia 2016, p. 11).
This description of a ‘scriptment’, as well as Millard’s of a ‘prototype’ might inspire you in assembling your ‘proofs of narrative”.
PS:
If you have plans to quote the Screen Australia document in your final post, how I’ve cited it above is correct for Harvard style. This is how to cite it in your reference list: Screen Australia 2016, Info Guide: Story Documents, 2016, viewed 17 May, <https://www.screenaustralia.gov.au/getmedia/7b189b10-2ce4-47d1-b206-bee3de29a419/Story-documents-drama-final-January-2016.pdf>
Week 11 is fast upon us!
Please email some work ahead (by Sunday) for discussion with your group on Wednesday.
During Thursday will be the opportunity to talk to me one-on-one about your final ‘proof-of-narrative’.