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Credit Value: 3.0
Credit Value Notes: N/A
Effective: Fall 2012
Prerequisites:
N/A
Corequisites:
N/A
Equivalents:
N/A
Pre/Co/Equiv Notes: N/A |
Course
Name (short): Story Development 1
School: Animation Arts and Design
Program(s):
Bachelor of Animation
Program Coordinator(s):
Mark Mayerson
Course Leader or Contact: N/A
Originator: Paulette Geffros
Designate: Paulette Geffros
Version: 13.0
Status: Approved (APPR)
Calendar Description
This course is designed to introduce students to the fundamentals of
visual language and how it relates to the cinematic world.
Typical Instructional Format
Lecture
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14.0 |
Studio Course
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28.0 |
Total hours: |
42.0 |
Courses may be offered in other formats.
Section I Notes:
Course Contributors: Tony Tarantini and Maury Whyte
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Detailed Description
This course is designed to introduce students to the fundamentals of
visual language and how it relates to the cinematic world. Topics
include film terminology, mental visualization, basic structure of a
story arc, character background, archetypes and oral traditions.
Visual literacy is developed through knowledge of film structure,
composition and scene continuity. Through interactive lecture,
discussion, demonstration, the use of film clips and studio work,
students develop their drawing skills and their ability to visualize
ideas and concepts in the form of a drawn storyboard.
Program Context
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Bachelor of Animation |
Program Coordinator: Mark Mayerson |
This course is part of the
core component of the first
year of the Bachelor of
Applied Arts (Animation)
Program. It is the first in a
series of six Story and
Storyboarding courses whose
development reflects
comprehensive and thoughtful
scope, content analysis, and
sequence in the delivery
within the Story stream. In
addition, it reflects
continuity, integration and
balance through the other
streams at an introductory
level and reflects the
complexity and logic of the
design of the BAA (Animation)
Program. It prepares students
for the remaining courses
within the stream and for
building connections to
storytelling, character,
animation and performance to
courses in other streams
within the program.
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Course Critical Performance and Learning Outcomes
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Critical Performance
By the end of this course, students will have demonstrated the ability
to implement cinematic language into a visual linear story.
Learning Outcomes
To achieve the critical performance, students will have demonstrated
the ability to:
1. Identify the production process of animated film from initial idea
to final projected image.
2. Explain the expectations for a storyboard artist within a studio
and within a variety of professions and industries.
3. Discuss effective film making principles and story telling
practices.
4. Incorporate the use of specialized terminology related to film
structure in verbal and written assignments.
5. Explain the importance of staging in story development.
6. Discuss how storyboard mimics the live action camera.
7. Develop gestural drawings that create the illusion of movement
through economy of line.
8. Identify some of the fundamental elements of story (e.g. plot,
setting, conflict, character, resolution, protagonist) in a
variety of selected films.
9. Interpret story development from a variety of selected film clips.
10. Evaluate the concept of archetype in the historical context and
definition of hero.
11. Draw storyboards based on a variety of simple scenarios.
12. Complete required tasks within prescribed timelines.
13. Create a unique character functioning within a specific conflict
situation and defined setting in a simple story.
14. Draft an individual reflective artist's statement.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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Students demonstrate their learning in the following ways:
Lecture
In Class Test 20%
Story
Artist's Statement Paper 10%
Story Panels (4 @ 5%) 20%
Two quizzes @ 15% 30%
Test 20%
Total 100%
Late Policy for all courses in the program:
All assignments are due within the first 15 minutes after the start
of class on the due date. Late projects, submitted after the first 15
minutes of the start of class will receive a 20% grade reduction.
Late projects submitted the following week will receive a 30% grade
reduction. There will be no submission of work after the last day of
semester unless arrangements have been made and documented by the
professor.
Work that is more than one week late will not be graded unless a
prior arrangement has been made with the professor; the arrangement
must be documented on email or a memo, with the new due date
identified. There will be no resubmission of work unless, under
exceptional circumstances, this has been agreed to or suggested by
the professor. Again, a hard copy of the agreement is necessary.
If there is a valid reason for the late project, the student must
email the professor at least 3 days before the due date. If the
reason is deemed to be valid, there will be no late penalty. A new
due date with be set by the instructor.
The basic late policy as laid out above will be followed, except in
the instance that an instructor requires a variation in policy. That
variation will be provided to the student in writing as part of the
actual assignment, which will be handed out by the instructor.
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Provincial Context
The course meets the following Ministry of Training, Colleges and Universities requirements:
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Essential Employability
Skills
Essential Employability Skills emphasized in the course:
X
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Communication
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X
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Critical Thinking & Problem Solving
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Interpersonal
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Numeracy |
X
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Information
Management |
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Personal
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Notes: N/A
Prior Learning Assessment and Recognition
PLAR Contact: Angela Stukator
Students may apply to receive credit by demonstrating achievement
of the course learning outcomes through previous life and work experiences.
This course is eligible for challenge through the following
method(s):
Challenge Exam |
Portfolio |
Interview |
Other |
Not Eligible for PLAR |
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X |
X |
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Notes: N/A
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Some details of this outline may change as a result of circumstances such as weather cancellations, College and student activities, and class timetabling.
Effective term: Fall 2012
Professor: Multiple Professors
Textbook(s): Textbook(s):
Katz, Steven. Shot by Shot. Visualizing from Concept to Screen.
Suggested Reading:
Culhane, Shamus. From Script to Screen.
Mascelli, Joseph V. The Five C's of Cinematography.
Macaulay, James and Schwartz, Zack. "And Then What Happened?".
Applicable student group(s): Bachelor of Applied Arts (Animation)
Course Details:Lecture - Jason Thompson
Labs - Maury Whyte
WEEK 1 MODULE 1- STORY LECTURES
Lecture Topic
- Analysis In Visual Storytelling: An Introduction
STORY
- Introduction to Visual Concepts
- Expectations and Procedures
- Overview of the Production
- The Role of the Storyboard Artist in Animation
- The Role of the Storyboard Artist in other Venues
WEEK 2 Lecture Topic
- The Magic Lantern: Documentary
- Scene Analysis: Fantasmagorie (Emile Cohl. 1908)
STORY
- Introduction to Fundamental Elements of Story
- The Storyboarding Process
- Interpretation of Story through Film Analysis
- The Artist's Statement Paper Assigned
WEEK 3 Lecture Topic
- Framing Up The Shot: What Does The Camera See? - Part 1
- Scene Analysis: Pocoyo ¿Big Sneeze(Zinkia Entertainment,
2006)
STORY
- Introduction to Storyboards (simple scenarios)
- Film making Principles and Storytelling Practices
- IN-CLASS STORYBOARD DUE
WEEK 4 Lecture Topic
- Framing Up The Shot: What Does The Camera See? - Part 2
- Scene Analysis: Children of Men (Alfonso Cuarón, 2006)
STORY
- Film Analysis
- Review of Concepts and Principles
- QUIZ #1
WEEK 5 Lecture Topic
- What Happens When We Cut?
- Scene Analysis: Harold and Maude (Hal Ashby, 1971)
STORY
- Storyboard and the Relation to Live Action Camera
- Staging, Posing, Gesturing
- Storyboard Design (Rule of Thirds)
- ARTIST'S STATEMENT PAPER DUE
WEEK 6 Lecture Topic
- Structural Aspect of Storytelling- An Introduction
- Scene Analysis: The Wizard of Oz (Victor Fleming, 1939)
- Brief Review For Test
STORY
- Film Analysis
- Film making Principles and Storytelling Practices
- Directorial Styles
- IN-CLASS STORYBOARD DUE
WEEK 7 Lecture Topic
- TEST 1
- Scene Analysis: TBA
STORY
- Gestural Drawing
- Economy of Line
WEEK 8 MODULE TWO- LAYOUT LECTURES
Lecture Topic
- Layout Analysis In Visual Storytelling: An Introduction
- Scene Analysis: Nightmare Before Christmas Documentary
- Return test
STORY
- Film Analysis
- The Archetype in Story
WEEK 9 Lecture Topic
- Colour Analysis In Visual Storytelling
- Scene Analysis: Fantasia (Walt Disney, 1940)
STORY
- Film Analysis
- Extension of Storyboards (simple scenarios)
- Film making Principles and Storytelling Practices
- IN-CLASS STORYBOARD DUE
WEEK 10 Lecture Topic
- Lighting Analysis In Visual Storytelling- Part 1
- Scene Analysis: Visions of Light Documentary- Vittorio
Storaro (1992)
STORY
- Film Analysis
- Review of Concepts and Principles
- QUIZ #2
WEEK 11 Lecture Topic
- Lighting Analysis In Visual Storytelling- Part 2
- Scene Analysis: TBA
STORY
- Character and Conflict
WEEK 12 Lecture Topic
- Filling Up The Frame- Effective Use of Visual Layers
- Scene Analysis: Pocoyo- Umbrella (Zinkia Entertainment,2006)
- Brief Review For Test
STORY
- Film Analysis
- Film making Principles and Storytelling Practices
- IN-CLASS STORYBOARD DUE
WEEK 13 Lecture Topic
- Test 2
- Scene Analysis: TBA
STORY
- Film Analysis
- Film making Principles and Storytelling Practices
- ARCHETYPE ASSIGNMENT DUE
WEEK 14 Lecture Topic
- Putting It All Together: Visual Storytelling Analysis
- Scene Analysis: TBA
- Return Test
STORY
- Summary and Review
- Critique
- FINAL TEST
Academic Honesty
The principle of academic honesty requires that all work submitted for evaluation and course credit be the original,
unassisted work of the student. Cheating or plagiarism including borrowing, copying, purchasing or collaborating on
work, except for group projects arranged and approved by the faculty member, or otherwise submitting work that is not
the student's own violates this principle and will not be tolerated. Instances of academic dishonesty, including
assisting another student to cheat, will be penalized as detailed in the Student Handbook.
Students who have any questions regarding whether or not specific circumstances involve a breach of academic
honesty are advised to discuss them with the faculty member prior to submitting the assignment in question.
Discrimination and Harassment
Sheridan is committed to provide a learning environment that respects the dignity, self esteem and fair treatment
of every person engaged in the learning process. Behaviour which is inconsistent with this principle will
not be tolerated. Details of Sheridan's policy on Harassment and Discrimination are available in the Student Handbook.
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