Introduction

The temporary association of the project “Responsabile Autore Audiovisivo / Audiovisual Author” led by OPRA Formazione through a legally binding agreement with Hyperreality and Contemporary Art Addiction is carrying out an investigation into the evolution of some job profiles in the film industry. This association can also take advantage of the collaboration of two European partners: Film and Music Entertainment Ltd. (UK); Lithuanian Film Academy (Lithuania). The aim is to identify and specify the features of the job profile of the Audiovisual Author in order to revise the initial and on-the-job training activities and make them meet the market needs as much as possible.

The investigation has been structured into different activities – analysis of the catalogues and vocational pathways, interviews with experts in the field, workshops – and is now at its final step with the following survey.

We kindly ask you to answer the questions according to your knowledge of both the sector and the tasks performed by the Audiovisual Author. In particular, we would be grateful if you could focus on both the tasks really performed nowadays and the possible development they will have in the immediate future.

It will not take more than 15 minutes. We would like to thank you in advance for your precious collaboration.

Questionnaire – Audiovisual Author

The Audiovisual Author is a qualified writer able to adapt an original idea, story, or literary work to a narrative structure for filming, broadcasting, and/or the Web. His/Her tasks vary according to the audiovisual project to be realised and the technical writing skills relevant to the features of the medium chosen for its production.

For this reason the Audiovisual Author must be endowed with a great imagination, creativity, flexibility, and power of observation; excellent language skills; great and deep knowledge in many fields, such as literature, history, sport, and show business; a strong interest in current events, society, and custom.

The analysis of the catalogues and interviews highlights that the Audiovisual Author’s profile, who can work for the different media, has skills which can be largely – although not exclusively – ascribed to the Scriptwriter’s. The Audiovisual Author can therefore be trained with the aim of allowing him/her to work for filming, broadcasting, and/or the new digital media.

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* 1. Here is a list of the main areas of expertise of the Audiovisual Author. Each of the following abilities can play a role in defining the professional level of the Audiovisual Author. Could you please score 1-7 points for each of these abilities, according to their degree of importance? (1 is the lowest level of importance; 7 is the highest level of importance)

  1 2 3 4 5 6 7
He/She can write a storyline
He/She can submit storylines and scripts to filmmakers
He/She can structure a treatment and a script
He/She can write a script
He/She can revise texts
He/She can edit film and television adaptations of literary works

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* 2. If you should consider an ideal profile of the Audiovisual Author, which of the following skills do young authors learn with greater difficulty? (please score 1-7 points: 1 is the lowest level of difficulty; 7 is the highest level of difficulty)

  1 2 3 4 5 6 7
He/She can write a storyline
He/She can submit storylines and scripts to filmmakers
He/She can structure a treatment and a script
He/She can write a script
He/She can revise texts
He/She can edit film and television adaptations of literary works

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* 3. If you have scored 5-7 points for at least one of the main skills listed above, what do you think this lack is due to? (no more than two answers)

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* 4. In your opinion, which of the skills listed below should be trained more in order to achieve an effective profile? (1 is the lowest level of training; 7 is the highest level of training)

  1 2 3 4 5 6 7
He/She can write a storyline
He/She can submit storylines and scripts to filmmakers
He/She can structure a treatment and a script
He/She can write a script
He/She can revise texts
He/She can edit film and television adaptations of literary works

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* 5. Apart from the narrative language, are there any other languages and techniques an Audiovisual Author should know? To which extent? (1 is the lowest level; 7 is the highest level)

  1 2 3 4 5 6 7
The language of images and the technique of photography
The language of sounds
The language and techniques of editing
The languages of the new digital technologies for filming and broadcasting
The languages of the Web

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* 6. As to the new technologies applied to the audiovisual media, which of the following statements are you mainly in agreement with? (just one answer)

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* 7. As to the professionalism of an Audiovisual Author, how much do digital skills count today? (please click here for the definition of digital skills; please give a response for each of the fields below)

  very important rather important not very important unimportant I don’t know
Creating a storyline
Developing a storyline
Submitting one’s own storyline

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* 8. As to the professionalism of an Audiovisual Author, how much will digital skills count in the immediate future (3 years from now)? (please give a response for each of the fields below)

  very important rather important not very important unimportant I don’t know
Creating a storyline
Developing a storyline
Submitting one’s own storyline

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* 9. Will the online marketplace of audiovisual products be significant in the immediate future? (just one answer)

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* 10. Do you think it is important for an Audiovisual Author to acquire knowledge of the general cost structure to realise an audiovisual product? (just one answer)

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* 11. According to your experience, do you think that training an Audiovisual Author in the different media (cinema, TV, etc.) can give him/her greater occupational opportunities?

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* 12. (If your answer is affirmative) Which market conditions could favour greater occupational opportunities? (just one answer)

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* 13. (If your answer is negative) Why not? (just one answer)

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* 14. Are you informed of any interesting training initiatives which could increase the degree of Audiovisual Authors’ professionalization?

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