This Professional master’s degree in Audiovisual Screenwriting will allow you to develop all your knowledge about the creation of characters and stories and to translate it into an audiovisual medium in a professional way”

To carry out the creation of any type of script, it is necessary to acquire a series of competencies that allow the idea to be put into practice and make it work. From the initial idea and its historical process, to the legal and juridical elements involved. Updating in this area is necessary, even if the scriptwriter's basic specialization is deep or highly experienced. In addition, it is not only enough to know the fundamentals of the processes that must be carried out for the creation of the script, but it is also important to incorporate the necessary information for its pre-production, production and post-production, viewing the process as a whole in an integral manner. 

The first part of the syllabus covers the phases prior to the creation of the script itself. It delves into the process of creating characters, their origins and the plot. There is a special emphasis on the history of films and television, offering a fundamental perspective for the creation of the script. Modules are also included to address other script formats, such as documentaries, television and Internet series, short films or video games, the latter belonging to an incipient sector that is very important for the entertainment industry. Finally, we find the analysis of the adaptation process, which makes this Professional master’s degree the most complete in Audiovisual Screenwriting. 

This program is the most complete and directed for the professional script writer to reach a superior level of performance, based on the fundamentals and the latest trends in the development of audiovisual scripts in all formats. Make the most of the opportunity and take this training in a 100% online format. Get your Professional master’s degree to continue growing in your career as a screenwriter.   

This Professional master’s degree is perfect for you to know how to tell the story you want to tell and do it in a professional way"

This Professional master’s degree in Audiovisual Screenwriting contains the most complete and up-to-date academic program on the market. The most important features include:

• Developing practical cases presented by experts in Audiovisual Screenwriting
• Its graphic, schematic and eminently practical contents with which they are conceived, provide scientific and practical information on those disciplines that are essential for professional practice
• News on cultural journalism and new social trends
• Practical exercises where the self-assessment process can be carried out to improve learning
• Algorithm-based interactive learning system for decision-making in the situations that are presented to the student
• Special emphasis on of the communication methodologies in cultural journalism. 
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

Work with the best scriptwriters and teaching professionals in this Professional master’s degree with excellent curricular value"

The teaching staff includes professionals from the field of audiovisual production, who bring their experience to this training program, as well as renowned specialists from leading societies and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive training program designed to train in real situations. 

This program is designed around Problem Based Learning, whereby the student must try to solve the different professional practice situations that arise during the academic year. For this purpose, the professional will be assisted by an innovative interactive video system created by renowned and experienced experts in Audiovisual Scriptwriting with extensive experience.

Don't miss the opportunity to increase your competence in the creation of audiovisual scripts in different formats"

Learn about the latest trends in the entertainment industry and update your knowledge in Audiovisual Screenwriting”

The structure of the contents has been designed by a team of professionals in Audiovisual Screenwriting for audiovisual media, who are conscious of the importance of up-to-date training in order to be able to deepen the area of knowledge, through the use of the available tools. 

This Professional master’s degree in Audiovisual Screenwriting contains the most complete and up-to-date of learning program on the market” 

Module 1. Character Building 

1.1. An Introduction to the Character

1.1.1. Basic Concepts

1.1.1.1. Historical Origin
1.1.1.2. Character and Narratology
1.1.1.3. Formalist Conceptions
1.1.1.4. Structural Conceptions

1.1.2. Psychology of the Character

1.1.2.1. Flat Characters
1.1.2.2. Round Characters
1.1.2.3. Character Sheet
1.1.2.4. Conflict
1.1.2.5. Objective
1.1.2.6. Motivation

1.1.3. Actions

1.1.3.1. Cause and Effect Relationship
1.1.3.2. Self-Disclosure
1.1.3.3. New Balance

1.1.4. Practical Example

1.2. Characterization of Characters

1.2.1. Characters and Plot

1.2.1.1. Topics
1.2.1.2. Symbolism
1.2.1.3. Worlds
1.2.1.4. Actions
1.2.1.5. Interpretation of the Screenwriter's World

1.2.2. Characterization of Physical Appearance

1.2.2.1. Character vs. Person
1.2.2.2. Stereotypes

1.2.3. First Steps to Creating a Character According to Linda Seger

1.2.3.1. Observation and Experience
1.2.3.2. Physical
1.2.3.3. Coherence
1.2.3.4. Attitudes
1.2.3.5. Individualize
1.2.3.6. Diverse Psychology

1.2.4. Practical Example

1.3. Protagonist and Antagonist

1.3.1. Similarities
1.3.2. Differences
1.3.3. Vulnerability
1.3.4. External Event
1.3.5. Climax
1.3.6. Double Self-Disclosure

1.4. Hero and Its Deviations

1.4.1. Hero’s Journey
1.4.2. Antihero
1.4.3. Victim

1.5. Character Conflicts

1.5.1. Single Plot
1.5.2. Multiple Plot
1.5.3. Types of Conflicts

1.6. Psychology of the Character

1.6.1. Differences Between Film and Literature
1.6.2. Emotions
1.6.3. Thoughts
1.6.4. Dialogues and Monologues
1.6.5. Actions
1.6.6. Visual and Sound Allegories

1.7. Dialogue and character

1.7.1. Dialogue Task
1.7.2. Voices
1.7.3. Subtext
1.7.4. Explanatory Dialogue

1.8. Character and Scene

1.8.1. Precedents
1.8.2. Protagonist and Antagonist

1.8.2.1. Status Quo
1.8.2.2. Desire
1.8.2.3. Motivations
1.8.2.4. Strategies
1.8.2.5. State of Mind
1.8.2.6. Relationships

1.8.2.6.1. Emotional
1.8.2.6.2. Social
1.8.2.6.3. Spatial

1.9. Characters and Information

1.9.1. Protagonist Audience
1.9.2. World History and World Story
1.9.3. Suspense and Surprise
1.9.4. Anticipations and Pulses

1.10. Success in the Forging of a Mythical Character

1.10.1. Myth
1.10.2. Sense of the Myth
1.10.3. Aristotle's Poetics

Module 2. Creating the Plot 

2.1. An Introduction to the Script

2.1.1. Basic Concepts

2.1.1.1. Idea
2.1.1.2. Synopsis
2.1.1.3. Plot
2.1.1.4. Management
2.1.1.5. Scale
2.1.1.6. Script

2.2. Origin and Structure of the Script

2.2.1. Controlling Idea
2.2.2. Counter Idea
2.2.3. Supposed
2.2.4. Turning Point
2.2.5. Climax
2.2.6. Moralizing Act

2.3. Creating the Plot

2.3.1. Narrative Fundamentals

2.3.1.1. Detonator
2.3.1.2. Conflict
2.3.1.3. Twist
2.3.1.4. Resolution

2.3.2. Plot and Information
2.3.3. Archetypal Plot
2.3.4. Synthesis

2.4. Elements in the Plot

2.4.1. Coherence

2.4.1.1. Internal
2.4.1.2. External

2.4.2. Likelihood
2.4.3. Genres and Subgenres
2.4.4. Characters
2.4.5. Tone
2.4.6. Dramatic Arch
2.4.7. Plots, Subplots and Conclusions
2.4.8. Management

2.5. Delimitations of the Television Plot

2.5.1. Film Script Vs. Television Script
2.5.2. Requirements
2.5.3. Types of Writing
2.5.3. Production Constraints
2.5.4. Scale

2.6. Two Paradigms: United States and Europe

2.6.1. Currents in the United States

2.6.1.1. Classic
2.6.1.2. Modern

2.6.2. Currents in Europe

2.6.2.1. Neorealism
2.6.2.2. New Wave
2.6.2.3. Dogma

2.6.3. Other Currents

2.7. Time in the Story

2.7.1. Alteration

2.7.1.1. Disorder
2.7.1.2. Fragmentation
2.7.1.3. Resources

2.7.2. Narration, Alteration and Plot

2.8. Dialogues and Action

2.8.1. Plot Manifestation

2.8.1.1. Spaces
2.8.1.2. Dialogues
2.8.1.3. Subtext
2.8.1.4. Elements to Avoid
2.8.1.5. Main Line of Action
2.8.1.6. Delimitation of the Scene
2.8.1.7. Description and Action
2.8.1.8. Rhythm and Details

2.9. Technical, Graphic and Sound Scripts

2.9.1. Technical Script

2.9.1.1. Components
2.9.1.2. Format
2.9.1.3. Scale

2.9.2. Graphic Script

2.9.2.1. Components
2.9.2.2. Format

2.9.3. Sound Script

2.9.3.1. Components
2.9.3.2. Format

2.10. Screenwriting Programs

2.10.1. Characteristics

2.10.1.1. Formats
2.10.1.2. Scales
2.10.1.3. Cards
2.10.1.4. Collaborative Work
2.10.1.5. Productivity
2.10.1.6. Import and Export
2.10.1.7. Online or Desktop Applications
2.10.1.8. Lists and Reports
2.10.1.9. Interaction With Other Programs

2.10.2. Program Examples

2.10.2.1. Free Software
2.10.2.2. Private Software

Module 3. Documentaries

3.1. Introduction to the Documentary Genre

3.1.1. Basic Concepts

3.1.1.1. Documentary and Fiction

3.1.2. Historical Development of the Documentary Genre

3.1.2.1. Types of Documentaries

3.2. Transformation of Documentaries

3.2.1. Current Trends
3.2.2. Hybridizations
3.2.3. Examples

3.3. Transformation of Documentaries II

3.3.1. Documentary Language

3.3.1.1. Historical Development of the Documentary Genre Language

3.3.2. Examples

3.4. Narratives and Documentaries

3.4.1. Narrative Strategy
3.4.2. Format and Content of the Documentary Script
3.4.3. Management

3.4.3.1. Visual
3.4.3.2. Auditory

3.4.4. Documentary Project Choices and Delimitations

3.5. Narratives and Documentaries II

3.5.1. Types of Narrative Strategies

3.5.1.1. Character and Plot
3.5.1.2. Management

3.5.1.2.1. Explicit or Implicit Presence

3.5.1.3. Research
3.5.1.4. Reconstruction
3.5.1.5. Speeches

3.5.1.5.1. Oral
3.5.1.5.2. Visual

3.5.1.6. Other Narrative Strategies

3.6. Documentary Creation Tools

3.6.1. Images

3.6.1.1. Types
3.6.1.2. Uses

3.6.2. Audiovisual Documents

3.6.2.1. Types
3.6.2.2. Uses

3.7. Documentary Creation Tools II

3.7.1. Sounds

3.7.1.1. Types
3.7.1.2. Uses

3.8. Script for a Documentary

3.8.1. Introduction to the Documentary Script
3.8.2. Approach
3.8.3. Twist or Progress
3.8.4. Denouement or Ending

3.9. Script for a Documentary II

3.9.1. The Only Rule
3.9.2. Interviews in the Script
3.9.3. Final Script

3.10. Interviews

3.10.1. Document
3.10.2. Narrative
3.10.3. Emotion
3.10.4. People Interviewed

3.10.4.1. Types
3.10.4.2. Interaction

3.10.5. Closure

Module 4. Introduction to the Legal and Labor Framework for Screenwriters 

4.1. First Steps for Audiovisual Creation

4.1.1. Preproduction

4.1.1.1. Screenwriter and Production

4.1.2. Sales Reports
4.1.3. Pitch or Sales Argument

4.2. Introduction to Pitching in Transmedia and Multiplatform Projects

4.2.1. Pitching

4.2.1.1. Types
4.2.1.2. Other Guidelines
4.2.1.3. Structure
4.2.1.4. Public

4.2.2. Transmedia Project

4.2.2.1. Composition
4.2.2.2. Platforms
4.2.2.3. Ideas
4.2.2.4. Introduction

4.3. Introduction to Pitching in Transmedia and Multiplatform Projects II

4.3.1. Keys to a Good Pitch

4.3.1.1. Audience
4.3.1.2. Visual Elements
4.3.1.3. Organization
4.3.1.4. Feedback

4.4. Phases in a film Marketing Structure

4.4.1. Existence
4.4.2. Persuasion
4.4.3. Reminder
4.4.4. Positioning
4.4.5. Commercialization
4.4.6. Representativeness

4.5. Festivals, Markets and Awards

4.5.1. Festivals
4.5.2. Markets
4.5.3. Awards

4.6. Festivals, Markets and Awards II

4.6.1. Europe
4.6.2. America
4.6.3. Africa
4.6.4. Asia

Module 5. Television and Film History 

5.1. Origins of Film

5.1.1. Exhibit

5.1.1.1. Lumière, 1895
5.1.1.2. Méliès

5.1.2. Tell the Story

5.1.2.1. Alice Guy
5.1.2.2. Edwin S. Porter

5.1.3. Compose

5.1.3.1. David W. Griffith

5.1.4. From Motion Exposure to Plot Narrative

5.2. Film Industry

5.2.1. Irruption of Sound
5.2.2. Screenwriters and Directors
5.2.3. Silent or Audible?

5.2.3.1. From 1929 to 1939

5.2.4. Hollywood

5.2.4.1. Classical Style from 1940 to 1960

5.2.5. The 1960s

5.2.5.1. Tradition
5.2.5.2. New Perspective

5.2.6. From the 1980s to today

5.2.6.1. Global Consumption
5.2.6.2. Seventh Art

5.3. Film and Propaganda During the Second World War

5.3.1. Nazi Propaganda

5.3.1.1. Leni Riefenstahl

5.3.1.1.1. The Aesthetics of Triumph

5.3.2. United States Propaganda

5.3.2.1. Army Didactic Propaganda

5.3.3. Film and History

5.3.3.1. Historical Film

5.3.3.1.1. Documentaries
5.3.3.1.2. Fiction

5.3.3.2. Television History

5.3.3.2.1. Images
5.3.3.2.2. Words

5.4. Documentary Genre

5.4.1. Origin

5.4.1.1. Ethnographic Documentary

5.4.1.1.1. Flaherty

5.4.1.2. Social Documentary

5.4.1.2.1. Grierson
5.4.1.2.2. Ivens

5.4.1.3. Exploring the World

5.4.1.3.1. Upcoming
5.4.1.3.2. Remote

5.4.1.4. Fundamentals

5.4.1.4.1. Aesthetics
5.4.1.4.2. Ethics

5.5. Documentary Genre II

5.5.1. Direct Films

5.5.1.1. Innovations in Film
5.5.1.2. Narrating with Reality

5.5.1.2.1. Frederick Wiseman

5.5.1.3. Rise of Documentary Films

5.5.1.3.1. The 1970s
5.5.1.3.2. New Narrative Strategies

5.5.1.3.2.1. Michael Moore

5.5.1.3.3. 20th century
5.5.1.3.4. Legacy
5.5.1.3.5. Advances

5.6. Television

5.6.1. Script

5.6.1.1. Televised
5.6.1.2. Video Streaming Platforms
5.6.1.3. Visual Novels
5.6.1.4. Traditional Television Term
5.6.1.5. Renewed Television Boom North America
5.6.1.6. Series in the 19th Century

5.7. Television II

5.7.1. United States Fiction

5.7.1.1. Foundational Stage

5.7.1.1.1. Single Play
5.7.1.1.2. Western
5.7.1.1.3. Action

5.8. Television III

5.8.1. United States Fiction

5.8.1.1. Evolution in Genres

5.8.1.1.1. Crime
5.8.1.1.2. Science Fiction
5.8.1.1.3. Comedy
5.8.1.1.4. Professional Drama

5.9. Television IV

5.9.1. United States Fiction

5.9.1.1. Evolution and Boom

5.9.1.1.1. Mini-Series
5.9.1.1.2. Infant and Juvenile
5.9.1.1.3. Adult Animation
5.9.1.1.4. Soap Operas

5.9.2. Latin American Fiction

5.9.2.1. Predominance of Soap Operas

5.10. Narrative in Current Films

5.10.1. Modular Narratives

5.10.1.1. Anachronistic
5.10.1.2. Crosslinks
5.10.1.3. Gamification

Module 6. Television and Internet Series Formats

6.1. Television Genres

6.1.1. Television Phases
6.1.2. Evolution
6.1.3. General Features of Television Fiction

6.1.3.1. Formats

6.1.3.1.1. Types

6.1.3.2. Seriality
6.1.3.3. Tendencies in Fiction Format

6.2. Webseries

6.2.1. Concept

6.2.1.1. Genesis
6.2.1.2. Particularities

6.2.1.2.1. Similarities With Television
6.2.1.2.2. Differences With Television

6.2.2. Advertising
6.2.3. Branded Content

6.3. Contemporary Audiovisual Content

6.3.1. New Configuration
6.3.2. Low-Cost Projects

6.3.2.1. Innovation and creativity

6.3.3. Free Knowledge

6.3.3.1. Licences

6.3.3.1.1. Creative Commons

6.3.4. Internet

6.3.4.1. Financing

6.3.4.1.1. Crowdfunding y Crowdlending

6.3.5. Transmedia Projects

6.3.5.1. Narratives
6.3.5.2. New Formats

6.4. Creating a Low-Cost Audiovisual Project

6.4.1. Production
6.4.2. Launching and Outreach

6.4.2.1. Social Media
6.4.2.2. Festivals

6.5. Procedural

6.5.1. Series Structure

6.5.1.1. Plots
6.5.1.2. Characters
6.5.1.3. Industry
6.5.1.4. Recommendations

6.6. Drama

6.6.1. Series Structure

6.6.1.1. Plots
6.6.1.2. Characters
6.6.1.3. Industry
6.6.1.4. Recommendations
6.6.1.5. Plurality

6.6.1.5.1. First Golden Age
6.6.1.5.2. Second Golden Age
6.6.1.5.3. Third Golden Age

6.7. Serial

6.7.1. Series Structure

6.7.1.1. Themes
6.7.1.2. Plots
6.7.1.3. Characters
6.7.1.4. Industry
6.7.1.5. Recommendations

6.8. Sitcom

6.8.1. Series Structure

6.8.1.1. Plots
6.8.1.2. Characters
6.8.1.3. Humor
6.8.1.4. Industry
6.8.1.5. Recommendations

6.9. The New Comedy

6.9.1. Series Structure

6.9.1.1. Themes
6.9.1.2. Plots
6.9.1.3. Characters
6.9.1.4. Industry
6.9.1.5. Formal Leaps
6.9.1.6. Recommendations

6.10. Animation

6.10.1. Series Structure

6.10.1.1. Singularities
6.10.1.2. Infantile
6.10.1.3. Juvenile
6.10.1.4. Adult
6.10.1.5. Anime

Module 7. Short Film Script

7.1. Introduction to Short Films

7.1.1. Concept
7.1.2. Origin
7.1.3. Evolution

7.2. Short Films in the Film Industry

7.2.1. Historical Development
7.2.2. Tendencies

7.3. From the Idea to the Literary Script

7.3.1. Idea
7.3.2. Synopsis
7.3.3. Literary Script

7.3.3.1. Heading
7.3.3.2. Description
7.3.3.3. Dialogues
7.3.3.4. Transition

7.4. Technical Script

7.4.1. Annotations
7.4.2. Stage
7.4.3. Numbered Shots
7.4.4. Numbered Sequence
7.4.5. Camera Movement
7.4.6. Music
7.4.7. Sound Effects
7.4.8. Character Name
7.4.9. Stage Name

7.4.9.1. Interior/Exterior
7.4.9.2. Day/Night

7.4.10. Floor Shot

7.5. Graphic Script or Storyboard

7.5.1. Origin
7.5.2. Function
7.5.3. Characteristics

7.5.3.1. Sequence Images
7.5.3.2. Texts

7.5.4. Components

7.5.4.1. Shots
7.5.4.2. Characters
7.5.4.3. Action of the Shot
7.5.4.4. Filming Duration

7.6. Sound Script

7.6.1. Origin
7.6.2. Function
7.6.3. Characteristics

7.7. Sound Script II

7.7.1. Components

7.7.1.1. Soundtrack
7.7.1.2. Direct Sound
7.7.1.3. Dialogues
7.7.1.4. Foley
7.7.1.5. Effects
7.7.1.6. Environments
7.7.1.7. Music
7.7.1.8. Silence

7.8. Videoclips, Commercials and Trailers

7.8.1. Videoclips
7.8.2. Commercials
7.8.3. Trailers

7.9. From Short Films to Micro and Nano Films

7.9.1. Short Films
7.9.2. Micro Films
7.9.3. Nano Films

7.10. Festivals

7.10.1. Definition
7.10.2. Types
7.10.3. Awards

Module 8. Video Game Scripts

8.1. Introduction to Video Games

8.1.1 Concept
8.1.2. Origin
8.1.3. Entertainment Industry
8.1.4. Internet Era

8.2. Video Games in the Audiovisual Industry

8.2.1. Historical Evolution
8.2.2. Leadership

8.2.2.1. Commercialization
8.2.2.2. Cooperation's

8.3. Narrative Structure in Video Games

8.3.1. Theory

8.3.1.1. Literacy
8.3.1.2. Video Games
8.3.1.3. Video Game Narrative

8.3.1.3.1. Characters and Players
8.3.1.3.2. Defined and Undefined

8.3.2. Intertextuality
8.3.3. Hypertext
8.3.4. Ludology

8.4. Genres in Video Games

8.4.1. Origins

8.4.1.1. Types According to Chris Crawford

8.4.1.1.1. Ability and Action
8.4.1.1.2. Strategy and Cognitive

8.4.2. Current Types

8.4.2.1. Action
8.4.2.2. Shooting
8.4.2.3. Strategy
8.4.2.4. Simulation
8.4.2.5. Sports
8.4.2.6. Racing
8.4.2.7. Adventure
8.4.2.8. Role Playing
8.4.2.9. Others
8.4.2.10. Sandbox
8.4.2.11. Musical
8.4.2.12. Puzzle
8.4.2.13. Party Games
8.4.2.14. Educational

8.4.3. Hybridization

8.5. Development of World, Characters and Objectives

8.5.1. World
8.5.2. Characters
8.5.3. Objectives

8.6. Design Document

8.6.1. Game Design Document (GDD)

8.6.1.1. Core
8.6.1.2. Plot and Storyline
8.6.1.3. Description
8.6.1.4. Technology
8.6.1.5. Game Modes
8.6.1.6. Game Mechanics
8.6.1.7. Options
8.6.1.8. Environment
8.6.1.9. Items

8.7. Technical Script

8.7.1. From the Literary to Technical Scripts
8.7.2. Elements in a Technical Script

8.7.2.1. Duration of Levels
8.7.2.2. Cameras
8.7.2.3. Story Board
8.7.2.4. Description of Each Item

8.7.2.4.1. Visualisation
8.7.2.4.2. Layout

8.7.2.5. Commands
8.7.2.6. Definition of Objectives by Level
8.7.2.5. Design Document

8.8. Videoludic Analysis

8.8.1. Semiology
8.8.2. Communication Aesthetics
8.8.3. Ludology
8.8.4. Film Analysis
8.8.5. Psychology
8.8.6. Practical Example

Module 9. Analysis and Adaptations

9.1. Story Analysis

9.1.1. Controversy
9.1.2. Evoke
9.1.3. Difficulties
9.1.4. Analyst

9.2. Analysis I: Coverage

9.2.1. Analysis Sheet
9.2.2. Examples

9.3. Analysis II: Cover

9.3.1. Cover

9.3.1.1. Idea
9.3.1.2. Synopsis
9.3.1.3. Recommendations

9.4. Analysis III: Commentary

9.4.1. Commentary
9.4.2. Recommendations

9.5. Analysis IV: Characters

9.5.1. Breakdown

9.5.1.1. Characters
9.5.1.2. Recommendations

9.6. Analysis V: Commercial Evaluation

9.6.1. Commercial Dimension

9.6.1.1. Development Notes
9.6.1.2. Commercial Evaluation
9.6.1.3. Recommendations

9.7. Adaptation to Television and Films

9.7.1. Premises
9.7.2. Translation
9.7.3. Adaptation
9.7.4. Creativity

9.7.4.1. Method

9.7.5. Obstacles
9.7.6. Markets
9.7.7. Sources
9.7.8. Fidelity and Authenticity
9.7.9. Narration and Perspective

9.8. Literary Adaptation

9.8.1. Characteristics
9.8.2. Interrelation With Film

9.8.2.1. Similarities
9.8.2.2. Divergences

9.8.3. Generate an Original Moment
9.8.4. Audiovisual and Literary Language

9.9. Theatrical Adaptation

9.9.1. Characteristics
9.9.2. Interrelation With Film

9.9.2.1. Similarities
9.9.2.2. Divergences

9.9.3. Relationship with Audience
9.9.4. Theatrical and Filmic Meta-Writing

9.10. Adaptation to Comics

9.10.1. Characteristics
9.10.2. Interrelation With Film

9.10.2.1. Similarities
9.10.2.2. Divergences

9.10.3. Ninth Art

9.10.3.1. Sequential
9.10.3.2. Influence

9.10.4. Example

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