Storytelling and Creative Communication - BMEGT43BX4K001-00

In this course, students gain insight into the study of narratives in various media and the importance of storytelling in communication. They acquire theoretical knowledge about storytelling and develop skills that enable them to create stories more consciously.

1. Reliable and sound knowledge of conceptual systems and methodologies of social science.
2. Solid knowledge of the important elements and contexts of European, Western cultural development, and related regulation in the EU.
3. Solid knowledge of conceptualization for studying communication and media phenomena

1. Skills of making independent analysis, knowledge claims, explanations and drawing valid conclusions.
2. Skill of self-reflection concerning of her own academic knowledge. Skills for self-improvement.
3. Openness to acquire new sectors of knowledge and ability to effectively acquire them

1. Critical self-reflections and eagerness to learn.
2. Presence from social science egocentrism in social science fields
3. Critical openness to innovation

1. Readiness of disseminating of one's own world view and norms in the scientific professional environment
2. Independence
3. Constructiveness and assertiveness in the context of institutional operation

The classes consist of lectures, analyses, and exercises. At the end of each class, students take a short test on the material covered in class. Based on class work and tests, students can earn a recommended grade. Those who do not accept this grade can prepare a presentation during the make-up week.

• - Dan P. McAdams: A történet jelentése az irodalomban és az életben. In: Thomka Beáta szerk.: Narratívák V: Narratív pszichológia. Kijárat Kiadó, Budapest, 2001: 157-176.
• - Manovich, Lev (2000): Az adatbázis logikája.Magyar Műhely, 2000 (115): 48-69.
• - Henry Jenkins: A játéktervezés mint narratív építészet. In.: Thomka Beáta szerk.: Narratívák 7. Kijárat Kiadó, Budapest, 2008: 175-192.
• - Hayden White: A történeti szöveg mint irodalmi alkotás. F. Heil Tamás. In.: HW: A történelem terhe. Osiris, Bp. 1997. 68-102.
• - Seymour Chatman: Amire a regény képes, de a film nem (és fordítva) – letölthető: http://szabadbolcseszet.elte.hu/mediatar/vir/szoveggyujtemeny/chatman/index.html
• - Pierosara, S. Narrative autonomy and artificial storytelling. AI & Soc 39, 1785–1794 (2024). https://doi.org/10.1007/s00146-022-01595-9

Participation is mandatory. In the event of absence exceeding thirty percent of the total number of hours of practical classes, credit for the course cannot be obtained.

Tests, class activity, presentations

• tests: 50
• in-class practices: 25
• en-of-term presentation: 25
• sum: 100

Participation

Retake and make-up test options are defined by the valid regulations of the University’s Code on Education and Examination.

Consulted with the Faculty Student Representative Committee, approved by the Vice Dean for Education, valid from: 07.07.2024.

Modern narrative theory —the study of structures and mechanisms of stories —is based on the realization that narratives, whether myths, fairy tales, films or everyday accounts, are built on the same deep structures. From the Russian ethnographers of the early 20th century to contemporary cognitive psychologists, scholars have proposed various theories about what stories have in common and the origins of these shared pattern. In this course, we will first explore some of these ideas. Additionally, these patterns have been applied as formulas for scriptwriting, branding, or AI-driven storytelling. We will examine some of these “recipes” and discuss their advantages and limitations from a creator’s perspective. Although stories have a common underlying structure, storytelling varies significantly across different media and art forms. We all recognize that a film adaptation of a literary text does not simply “tell the same story”. In the second half of the semester, we will focus on these differences and address questions such as: Can a single image convey a narrative? Can film “describe” a landscape? What happens to the story if the viewer has the power to shape it, as in video games? In classes, we will analyze a diverse selection of Hungarian and international examples —including short texts, films, advertisements, and artworks —as well as students' own works to test theoretical concepts.