Events
Proposed syllabus for Qalam
Module 1
1. Concept/story idea: – what makes a good concept/idea for television? What are the elements necessary for an idea/concept to become a winning story? What is a concept/idea? How is it different from a full-fledged story? High-end concepts. Examples of recent television successes of good concepts/ideas.
2. Concept to story (The process): – how is a concept/idea developed into a full-fledged story? What elements are required in creating a good story? Define story in two lines. Create characters for your story; create obstacles, dramatic points in the story. The plot: – Its importance, twists in plots. Eg’s of plots twists from current and old successful soaps. Television stories end? If they do then how to end a story?
Different kinds of story: – The daily soap story, the series story, the comedy, the thriller story, Tv mini series stories and stories for TV films. How are they different?
3. Story Elements: – Characters: – How to create interesting characters? What
Makes characters tick? Different kinds of characters, the protagonist (hero/heroine) the antagonist, subsidiary characters, relief characters. Character stories/biographies. Polarisation of characters in a story, changing equation among characters.
Module – 2
1. Teleplay: – elements of teleplay: – How to weave story into an interesting teleplay? What is teleplay? How is it different from story? What elements constitute interesting teleplay? Eg’s of recent episodes from hit serials? Examining the reason for their success. What is a sub plot? How is it important to the story and teleplay? How to weave subplots into main story and teleplay.
2. Graphing of story for teleplay: – Creation of mile stones/Plot points in the story. Running parallel tracks of subplots along with main story. Interweaving of subplots with milestones of main story and plot points.
3. Difference in teleplay of various kinds of stories: – how to write teleplay for comedy, daily soap, weekly soap, mini series, one hour episode, Tv film.
4. Teleplay of an episode: – what constitutes episodic teleplay? Creating of parallel tracks and its importance in weaving teleplay of episodes.
5. Cliffhanger end/The hook: – how to create cliff hangar ends to episodes? Its importance.
Module – 3
1. The importance of scene: – what is a scene? How to create scenes for teleplay? Breaking of individual tracks into scenes. How do scenes lead to story forward? The opening scene, the end scene, the filler scene. The Dana dalna scene. Its importance. The recurring theme scene, its importance. Character exposition scene. What is character exposition? Its importance! Plot exposition scene, its importance. Examples of all the above concepts.
2. The dialogue: – what is dialogue? Importance of dialogues. What elements constitute good dialogue? Dialogues in character exposition. Dialogues for different genres like comedy, soap, thriller and Tv film.
Module – 4
1. Assignments: – create a story from an idea/concept, create characters, develop its plot points and overall graph. Write an episodic teleplay. Write dialogues for an episode.
The entire course should be of 12 weeks with twice a week to thrice a week lectures. Each module will take up 3 weeks and 6 to 9 sessions.
MUMBAI: Disney Star India is in the running for this year’s IBC2024 Innovation Awards which are to be held on 15 September at 18 hours. The category for which it has been shortlisted is the social impact award for its work with India Signing Hands through which it brought the IPL 2024 coverage to almost 67 million hard of hearing and 34 million visually impaired fans on Star Sports.
Late last month, the IBC announced the finalists for the IBC Innovation Awards which celebrate and honour collaborative initiatives leading to ground-breaking solutions that address real-world media, entertainment and technology industry challenges. This year’s awards bring together under one roof IBC’s innovation and social impact awards to create a unified celebration of industry advances, with five categories now being judged: content creation, content distribution, content everywhere, social Impact, and environment & sustainability.
“This year’s entries once again showcased the global reach and appeal of the IBC Innovation Awards with projects of the highest quality received from six continents,” said chair of the 2024 IBC Innovation Awards jury Fergal Ringrose. “Meanwhile, constantly evolving delivery methods and audience consumption patterns demand that content producers around the globe must innovate dynamically in order to stay relevant and competitive in the modern media and entertainment technology ecosystem. I would like to sincerely thank our panel of judges for their diligence and ability to adapt, as we brought our three content categories together with environment and sustainability and social impact this year for our new-look IBC Innovation Awards.”
Former news anchor Sasha Qadri is set to host the awards in the auditorium complex at the RAI on Sunday.
This year’s finalists in the Content Creation category include:
* The National Football League (US), ESPN, Disney/Pixar and Beyond Sports for creating the first fully animated, real-time NFL alternative broadcast set in the Toy Story universe.
* Olympic Broadcasting Services and partners for live broadcast production with more than 200 smartphones contributing video for the Paris 2024 Opening Ceremony and a sea-based 5G network for sailing competitions in Marseille.
* Aspire for working with Vislink and FocalPoint VR to develop a virtual reality over RF wireless solution for the inaugural season of Aspire’s Abu Dhabi Autonomous Racing League (A2RL).
The organisations named as finalists in Content Distribution are:
* Claro for creating a new approach to pay TV in Brazil, integrating streaming channels and applications, delivering entertainment to consumers with a complete pay TV offer.
* NBCUniversal Operations and Technology for its pioneering project to transform the way its TV channels are delivered to consumers worldwide.
* The National Hockey League (Canada and US) in partnership with Verizon, AWS, Zixi, Vizrt and Evertz, for producing a 5G and Edge compute framework for assembly, control and delivery of live broadcast.
The Content Everywhere finalists are:
* LaLiga for working with Play Anywhere and Ease Live to enable true fan interactivity for itself and its worldwide broadcast and streaming partners.
*Red Bull Media House for bringing together real-time GPS tracking, data management and advanced visualisation to transform viewing experience across live broadcast, web widgets and AR mobile app.
* Franceinfo (France Télévisions) for working with PimpMyCompany to aggregate text/audio/video/photo messages from various platforms and broadcasting them live on air.
Apart from Disney Star, the Social Impact finalists are:
* CultureQ for a new technology platform developed by indigenous-owned tech company Kiwa Digital that enables indigenous peoples globally to revitalise their language and culture at scale, while retaining sovereignty
* Sesame Workshop for its Watch Play Learn Distribution Hub which allows government agencies and aid organisations to preview and request videos for children in crisis settings.
The Environment & Sustainability finalists are:
* France Télévisions for reducing CO2 emissions by 300 tons via a pioneering 100% glass-to-glass cloud production and private 5G network.
* GreeningofStreaming for addressing growing industry concerns about the energy impact of the streaming sector, with international reach and over 30 member organisations.
* Anton/Bauer for Salt-E Dog which harnesses the power of sodium chemistry to enable sustainable television production practices.
The Innovation Awards ceremony will also feature the presentation of the IBC International Honour for Excellence, which goes to an individual or organisation that has made an outstanding impact in the industry, and the best technical paper, with all papers being presented at the 2024 IBC Conference that runs 13-15 September in the auditorium complex of the RAI.
